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HARVARD STUDIES IN ROMANCE 
LANGUAGES 


PUBLISHED UNDER THE DIRECTION OF THE 
DEPARTMENT OF FRENCH AND OTHER 
ROMANCE LANGUAGES AND LITERATURES 


VOLUME I 





(i's FIVE OYY 
Ciacomo da hentini, 13th cent. 


THE POETRY OF 
GIACOMO DA LENTINO 


SICILIAN POET OF THE 
THIRTEENTH CENTURY 


EDITED BY 


ERNEST F. LANGLEY 


PROFESSOR OF FRENCH IN THE MASSACHUSETTS 
- INSTITUTE OF TECHNOLOGY 





CAMBRIDGE 


HARVARD UNIVERSITY PRESS 


LONDON: HUMPHREY MILFORD 
Oxrorp UnIversity Press 


1915 


iy 
: 
an , 


~e 





TO 
PROFESSOR CHARLES HALL GRANDGENT 


MY FIRST TEACHER IN 
THE ITALIAN LITERATURE OF THE DUECENTO 
THIS BOOK IS GRATEFULLY DEDICATED 


iy a! ae 
—~., ~~} ‘ 
bebe a he 





PREFACE 


THE present edition of the poetry of Giacomo da Lentino was 
accepted in a briefer form as a thesis for the degree of Doctor of 
Philosophy at Harvard University in 1909. As it now appears, 
the text and most of the critical apparatus are practically un- 
changed, but considerable additions are given in the form of 
notes, glossary, and metrical discussion. It endeavors to pre- 
sent all the poetry that can be attributed to Giacomo, as well as 
the poems that are of questionable authenticity, or are wrongly 
assigned to him in editions or manuscripts. In a field where nu- 
merous problems lack their final solution, many points of detail 
are still debatable. 

The editor wishes to acknowledge his obligation to the 
numerous scholars who have worked before him in this field, 
and hopes that he has given credit in every case where his debt 
is a direct one. To those who have personally given him advice, 
or furnished him with material, his hearty thanks are due: to 
Professor Pio Rajna and Signor Dottore Gino Lega in Italy; to 
Professor E. S. Sheldon of Harvard, who, together with Professors 
C. H. Grandgent, and J. D. M. Ford, has been in charge of the 
publication; to the two former for many valuable suggestions; 
and to Professor Kenneth McKenzie of Yale, who furnished the 
copy of a sonnet in the Parma Library. Great appreciation is 
felt for the courtesy of Professor Mario Pelaez of Rome, who, on 
learning that this edition was being prepared for the press, ceased 
working on one of his own. 

E. F. LANGLEY. 


‘CAMBRIDGE, Mass. 
November, 1914. 





CONTENTS 


INTRODUCTION 


I. Gracomo pA LENTINO: HIS LIFE AND HIS POETRY. ....... 
TS OS le ae dee eR a ee ae pO a aa a 


GEERT OLE MORNING (50 git gah a tate gr er SM ee 


PPA NIMACENES, TaD ure! oni oli nrce: Co Feller eee al ve ee a fal ehtie tienes 
emia MAE MMR Cfo aia tates coeds gins Tory g's” fan lal Te iinusas.e! esse. ene 


WEE: | RARTHOD, Oo rete EDITION SS SSE SA bee ees 


EMPIRE Ian Ag og ee ig) eeu ME yee EE Ble erie: wes eae 


I ae eI a ge ae bee ee gs 
DEOOMIREOPRIEUE ise ea nt sc este 8 eg ete 
Ainee Mom YONG Cas Get ee ek 
Pi ORRIN) See Gig este ee ale bee 
Ben m’é venuto prima al cor doglienza ........ 
Donna, eo languisco, e no so qua’ speranza. ...... 
Sn CEU sy ek la ce a a ere ee 6S, 
EOI OONE CIM ayo Seles he ee eee eos 5 te 
Madonna mia, a voimando. ............. 
S’io doglio no @ meraviglia ..........+4.2... 
Uno disio d’amore sovente ... . . 2.0.2 ss tees 
pO ME eat SUP aa 


Hen iSa-2Hop 


Or DispuTep oR DouptFuL AUTHENTICITY. ........... 
Mere RAGE AUTHENTIC, Soot ee a kK ee lc te eo ee eek ke 


xm. Guiderdone aspetto avire ......- ss eee ee 
xiv. Membrando l’amoroso dipartire. ........... 
xv. Poi non mi val merzé né ben servire. ......... 


eee UP RORARLY (AUTHENTICS So. <.o5.6-sresre Sa ere ke la 


xvi. Membrando cid ch’ Amore. ..........2... 
xvi; Git kingiamente, Amore~. . 5 se Se oe 
SOUELL, » 5 ON baneG CAGDORCENZS - 66s eee ees 
ee sl We SrRWORO ATTAIN 86 Se ee ee. : 
xx. Vostra orgogliosa cera. ...... PRU Meal ee tat ve 
xxi. Amor da cui move tuttorae vene........... 
Sx Coat afino ad: a@marvi 68. ee es TLS Ani 


FRAGMENTS | OF (CANZOME 33. -o sia ie Manistee nine rae 
1. Nom so sein giolamisia ........2..-. Sree 
m. Amore pauts mincelea; 5 © i2<)05- 46a ete eels 


DISCORDO 
Dal cove: mi: vene: 58 ARS Feet ot aa Gan ae ice eae 


ROUT OTED oss es ele Ss a bs erage Ce eee 
Tenzone I (3 sonnets) 
[t. Solicitando un poco meo savere (Jacopo Mostacci)] . . . 
[u. Perd ch’Amore no si po vedere (Pier della Vigna)] 
m. Amor é un disio che ven da core (Giacomo). ...... 
Tenzone IT (5 sonnets) 
[rv. Oi! Deo d’amore, a te faccio preghera (Abate di Tivoli)]. 
Feruto sono isvariatamente (Giacomo). ........ 
Qual omo altrui riprende spessamente (Abate)] .... . 
Cotale gioco mai nom fue veduto (Giacomo) ...... 
Con vostro onore facciovi uno ’nvito (Abate)} ..... 


Lo giglio, quand’ é colto, tost’?@ passo. ........ 
Sicome il sol che manda la sua spera ......... 
Molti amadori la lor malatia . . ........4..- 
Donna, vostri sembianti mi mostraro ......... 
Ogn’ omo, c’ama, dé amarelosuoonore........ 
All’ aira chiara 6 vista plogia dare .......... 
Io m’agio posto in corea Dioservire ......... 
Lo viso mi fa andare alegramente. .......... 
Lo viso e son divisodaloviso .......4+sesee-s 
Si alta amanza 4 presalome’core .......... 
Per sofrenza si vince gran vetoria. .........-. 
Certo me par che far dea bon signore ......... 
Si como ’] parpaglion ch’ tal natura. ......... 
Chi non avesse mai veduto foco. ........2.4.2-. 
Diamante, né smiraldo, né zafino ........... 
Madonna 4 ’n sé vertute con valore. ......... 
Angelica figura e conprobata ........2.+4+4+46-. 
Quand’ om 4a un bon amicoleiale ........... 
Or Dovupreus AUTHENTEIES: 5.05150) 6.6 eho a ee ee) ek 
xxvu. Or come pote si gran donna entrare.......... 
xxvit. Lo badalischio a lo spechiolucente .......... 
xxix. Come l’arcento vivo fugeilfoco ........... 
xxx. Guardando ’] badalisco velenoso. ..........--. 
UMAUTHEWIE 050 oi 0 ce ee Ose oe ee ele 
xxxi. Fin amor di fin cor ven di valenza .........-. 
xxx. Tanto sono temente e vergognoso. ......-.++24.-. 


PCEUEL TE EEELLECE PT Ee 


CONTENTS xi 


xxx. Segnori, udite strano malificio ............ gr 

xxxiv. “ Amor m’auzide.” “Perch?” “Perch’ioamo” .. 92 

xxxv. Due cavalier valentid’un paragio. .......... 93 

xxxvi. Da che ti piace ch’io degia contare .......... 04 

xxxvil. Pegli occhi miei una donnaed Amore ......... 95 
xxxvim. Amore, gli occhidicoleimifanno. .......... 96 

xxxtx. Re glorioso, pien d’ogni pietate. ........... 97 

Re Ma reg Ce ails aig ign aa wale Pee ie; pe tele 6 w6 100 
I a Ae eres Nak ag VG pa ya Wie CM hl Get dt Jal id wm 130 
NE eats he ae te bea wd ele be eae eles a 137 
ALPHABETICAL INDEX OF FIRST LINES ........... 149 





INTRODUCTION 


I. GIACOMO DA LENTINO: HIS LIFE AND HIS POETRY 


1. His Lire! 


Axsout Giacomo da Lentino, the chief poet of the Sicilian School, 
we have no contemporary accounts. Any attempt at a biography 
must be confined to a few facts and a moderate amount of reason- 
able hypothesis for which the basis is to be found in the canzonieri 
themselves, in a few notarial documents written by the hand of 
Giacomo or mentioning his name, in the insecure inferences to 
be derived from the poems themselves, and finally, in the refer- 
ences to him made by men of his own century, though of a later 
generation. 

From the earliest manuscripts we learn that Giacomo was a 
notary. He was almost always styled Notaro Giacomo or Gia- 
como Notaro. In the three oldest canzonieri,2? where his name 
occurs in the rubrics fifty times, in forty-nine cases it is in the 
form of Notaro Giacomo; in only one case (B 55) do we have 
Notar Jacomo dallentino. The almost complete absence, how- 
ever, of da Lentino in the rubrics can raise no doubt about the 


1 On the life of Giacomo cf. Torraca, Studi su la lirica ital. del Duecento, Bologna, 
1902, pp. 1 ff.; Monaci, Da Bologna a Palermo, in Morandi, Antol. della crit. moderna, 
1890, pp. 230 ff.; Gaspary, Scuola sicil.; Cesareo, Poes. sicil., pp. 34 ff.; Zenatti, ~ 
Arrigo Testa, pp. 3 ff., also Ii notaro da Lentini in Eros, Rivista messinese, 1899, DO. 5, 
and Studi sui rimaiori della scuola sicil., Catania, 1902, p. 67; Villani, La lirica ital., 
pp. 13 ff.; Baudo, Storia di Lentini, vol ii, chap. 3; Scandone, Notizie biografiche di 
rimatori della scuola sicil., in Studi di lett. ital., vol. v, p. 270, Napoli, 1903. Con- 
clusions of the latter refuted by Garufi, Archivio stor. ital , series V, vol. xxxiii, 1904, 
pp. 401 ff. A number of important articles are cited later. For abbreviated titles 
see chapter on Editions and Other Works. 

2 Mss. A, B, C; cf. chap. on Mss. 


xiii 


<< 


xiv INTRODUCTION 


poet’s birthplace, as he mentions it specifically himself in the 
canzone Maravigliosamente, ll. 61-63: 
Lo vostro amor, ch’é caro, 


donatelo al Notaro, 
ch’ é nato da Lentino. 


And again in Madonna mia, a voi mando, ll. 53, 54: 
Per vostro amor fui nato, 
nato fui da Lentino.* 

From the old canzonierit we also perceive the prominence of 
Giacomo in his group, a prominence revealed by the comparative 
productiveness of his muse and the importance of his literary 
relations. Codex A has under his name sixteen canzoni,? one 
discordo, and eight sonnets; B has eleven canzoni, one discordo, 
and sixteen sonnets; C has five canzoni. Rinaldo d’Aquino, the 
poet of Giacomo’s generation represented by the next largest 
number of attributions, has in the Vatican Ms. (A) eight canzoni, 
in B three, and in C, seven. In other words, a total of fifty-eight 
attributions for Giacomo and only eighteen for Rinaldo. In 
the codex Vat.-Barb. (F) we find the Notary associated in a 
tenzone with Pier della Vigna and the imperial falconer Jacopo 
Mostacci.4 Elsewhere we find him respectfully addressed by the 
Abate di Tivoli in a series of sonnets discussing the nature of love;® 
and, according to the theory proposed by Monaci, he was prob- 
ably in literary correspondence with Arrigo Testa, Tiberto Gal- 
liziani da Pisa, Rugieri d’Amici, Rinaldo d’Aquino, and Guido 

1 Scandone, Notizie, pp. 270 ff. maintained that da Lentino was the family name, 
and did not indicate the poet’s birthplace. Garufi (p. 416), disproved this, and in 
support of his arguments we have the evidence of the lines of the Abate di Tivoli: 

E per vostro amor ben amo Lentino. (Son. 8.) 
Lentino is the modern Lentini (ancient Leontini), five miles from the east coast of 
Sicily, and about twenty-two miles north of Syracuse. 

2 Assuming the lost ones to have been attributed to him. 

% Therefore either the most productive versifier of his generation or else far 
more of his pieces were thought worthy of preservation by the compilers than was 
the case with his fellow poets. 


* See Tenzone 1, pp. 50 ff. 
5 Tenzone UI, pp. 62 ff. 


INTRODUCTION XV 


delle Colonne.t Especially significant are the words of the 
anonymous author of canzone No. 72 in A, who selecting the 
Notary as the acknowledged master of amorous song, “ quegli 
ch’é d@amor fino,” aaa him his love complaint, asking him to 
sing it every morning “ infra la giente.” ? 

The search for documentary evidence of a notary bearing the 
name of Giacomo da Lentino, contemporary of Pier della Vigna 
and consequently of Frederick II, was rewarded by Zenatti’s dis- 
covery of two privileges of Frederick II drawn up by Giacomo. 
One,* dated March, 1233, near Policoro, a town in Basilicata, is 
the deed of gift to Frederick’s son, Conrad, of the town of Gaeta 
and several fiefs of the Abruzzi; the other,* dated June, 1233, at 
Catania, confirms to the abbot and monks of San Salvatore the 
privileges granted to their monastery by the Norman kings, by 
Henry VI and Constance. Both refer to Giacomo in the words 
“ per manus Jacobi de Lentino notarti et fidelis nostri scribi.” 

A more recent important discovery by Garufi® afforded the 
means of identifying other documents drawn up by Giacomo. 
Among the ancient archives of the Tabulario di S. Maria delle 
Moniali of Messina, Garufi found a document of May sth, 1240, 
in which the name of Giacomo appeared in autograph signature 
as witness, and in which he is mentioned as Jacobus de Lentino 
domini Imperatoris notarius.6 From the handwriting of the 
autograph Garufi was able to identify the hand of Giacomo 
in two other imperial documents of 1233, the originals of 
which he examined. One of these (Béhmer-Ficker, 2020) 7 
lacks the name of the notary who drew it up; the other (Béhmer- 

1 Sulle divergenze dei canzonieri, in Rendiconti d. R. Accademia dei Lincei, Sept. 6, 
1885. The names of Gugl. Beroardi and Stefano di Messina might be added to 
the list. 

? It is perhaps significant that Giacomo’s canzoni are placed first in Ms. A; his 
sonnets also are given first place in the sonnet section. Cf. Caix, Origini, p. 20. 

3 Bohmer-Ficker, 2017; Zenatti, Arrigo Testa, p. 3. See Appendix, doc. I. 

4 Bohmer-Ficker, 2022; Zenatti, Arrigo Testa, p. 4. See Appendix, doc, ITI. 

5 Garufi, Archivio Stor. ital., series V, vol. xxxiii, pp. 403 ff. 

6 See Appendix, doc. VII. 

1 Die Regesten des Kaiserreichs, see Appendix, doc. II. 


xvi INTRODUCTION 


Ficker, 2030) was written per manus Jacobi notarii. B.-F., 2020, 
was dated Messina, June, 1233; apart from the place and the 
date, it offers us no new facts about Giacomo. B.-F., 2030, was 
dated Palermo, September, 1233. As the notary “ Jacobus ” 
mentioned in it is the same person as the “ Jacobus de Lentino ” 
of B.-F., 2017 and 2022, and as no other Jacobus appears by 
name as imperial notary for the year 1233, it seems highly prob- 
able that the “ Jacobus notarius ” of another document (B.-F., 
2029), written at Castrogiovanni, in the centre of Sicily, August 
14th of the same year, was also Giacomo da Lentino.t In any 
case the four other documents already mentioned, B.-F., 2017, 
2020, 2022, 2030, prove that Giacomo as notary followed the 
Emperor in the journey that he made from Policoro, in Basili- 
cata, to Palermo, by way of Messina and Catania, from March 
to the end of August, 1233. If the Emperor stopped in August 
at Castrogiovanni, Giacomo da Lentino would naturally be with 
him, and he would naturally be the “ Jacobus” to whom was 
delegated the task of drawing up the letters patent (B.-F., 2029) 
in which Frederick approved of the terms that Gregory IX had 
made between him and the Lombard towns. 

It was Pier della Vigna that had brought to the Emperor in 
Sicily the news of this compromise effected by Gregory, and it 
was he also that carried back to the cardinals the letter from 
Frederick written by the hand of his poet friend, the notary 
Giacomo. Would not this meeting at Castrogiovanni, as Garufi 
suggested, be a most opportune time for Pier and Giacomo to 
become acquainted, and might it. not have been very fittingly 
then and there that they, poets both of them, as well as imperial 
officials, replied to the question on the nature of Amore proposed 
by Iacopo Mostacci (Tenz. 1)? And might not Pier on his re- 
turn to Rome in the same year have served as the natural inter- 
mediary between Giacomo and the Abate di Tivoli ? * 


1 Zenatti, A. Testa, p. 5; H.-B., iv, 451; Béhmer, Acta, no. 302. App., doc. IV. 

2 Torraca Studi, p. 84; Garufi, p. 405. Cf. Canzone XIV, ll. 21-25. 

% Tenz. II; cf. Garufi, p. 406. There would of course have been other opportu- 
nities. 


INTRODUCTION xvii 


Between September, 1233 and the spring of 1240, we have no 
further documentary mention of Jacobus de Lentino. This long 
silence raises two questions: (1) Did Giacomo accompany the 
Emperor any farther in his travels? (2) Was he merely a 
temporary imperial notary, serving at Frederick’s court in 1233 
alone ? 

In attempting to decide the first of these questions it is well to 
recall the itinerary followed by Frederick during the remainder 
of the year 1233. At Palermo, where Giacomo wrote B.-F., 
2030 in September, the imperial court remained for at least part 
of October; thence it moved to Girgenti, Butera and Syracuse, 
arriving about the end of the year at Giacomo’s native town 
Lentini, where a parliament (solemne coloquium) was to be held. 
Even if we assume that the privilege of September (B.-F., 2030) 
is the last official duty performed by Giacomo as imperial notary, 
it is at least highly probable that he would have taken advantage 
of the Emperor’s itinerary to visit again his native place Lentini 
as one of Frederick’s honored officers.!. But there is no evidence 
that his imperial duties now cease.2 Some at least of the five 
extant documents written between October 12 and the arrival at 
Lentini may very well have been drawn up by the hand of Gia- 
como,* and he may have continued in the Emperor’s employment 
long after Frederick passed on from Lentini to Messina, January, 
1234. But it may seem strange that Giacomo should remain for 
the following six years in the Emperor’s employment and that we 
should find no mention of his name in the large number of exist- 
ing imperial documents written during that time. Yet it is fre- 
quently the case that the name of an imperial notary, after 


1 See Canzone XTV, Il. 21-25; Garufi, p. 406. 

2 The absence of a notary’s name in the five documents written between 
September and the arrival at Lentini proves nothing, for in the seventeen documents 
we possess for the year 1233 four only bear the name of the notary who drew them 
up. 
8 Tf we were able to consult the originals, the test of the handwriting would 
be conclusive. I have been unable to discover how many notaries accompanied 
Frederick in his travels. 


-__ 





xviii INTRODUCTION 


appearing in the documents for a time, is not found again for 
several years. Thus Jacobus de Catania appears as imperial 
notary in documents for 1220 and 1221, then not again till 1227, 
after which there is another silence till 1231, when he appears for 
the last time. Letters patent usually lacked the notary’s name, 
and one may read, for example, all the documents for the year 
1234 in Huillard-Bréholles without finding a mention of the 
notary who drew them up. 

In the spring of 1240 we have four documentary mentions of a 
Jacobus de Lentino. The Emperor, writing from Lucera in Apu- 
lia, April 3, to Guillelmus de Anglono, “‘ justitiarius Sicilie citra 
flumen Salsum,” acknowledges the receipt of some mules delivered 
to him “ per predictum nuntium tuum Jacobum de Lentino.” * 
Again, on April 29th, Frederick writes from Coronata to the 
“ provisorem castrorum in Sicilia citra flumen Salsum” about 
supplies necessary for the fort of Carsiliato, near Lentini,? under 
the command of Jacobus de Lentino. And finally, on May roth, 
writing from Foggia, he authorizes Obertus Fallamonachus, se- 
cretus for all Sicily, to deliver to Jacobus de Lentino the supplies 
necessary for the fort of Carsiliato.* Meanwhile, on May sth, 
Jacobus de Lentino “‘ domini Imperatoris notarius”’ had appeared 
as witness in Messina. 

So we have in the spring of 1240 the name Jacobus de Lentino 
applied to a person, or to persons, performing three different im- 
perial duties in the same jurisdiction, Eastern Sicily. Could this 
notary, this envoy, and this governor of a fortress be one and the 
same person?‘ In other words, might a Jacobus de Lentino, 
who had traveled with the Emperor as notary in 1233, be sent 
from Messina to the Emperor at Lucera as envoy, arriving about 
the first of April, 1240; at the same time, or shortly after, repre- 

1 B.-F. 2953; H.-B., V, 880; see App., doc. V. 

2 Garufi, p. 412; Torraca, Studi, p 88; B.-F. 3041; H.-B., V, 937. 

3 B.-F. 3104; H.-B., V, 984. 

* Garufi, p. 411 ff., proposed the identification of the Notary with the castellan. 


Zenatti, p. 6 note, thinks the envoy and the castellan may be the same person, but 
does not suggest the identification of either with the Notary. 


INTRODUCTION xix 


sent to Frederick the needs of the fortress of Carsiliato entrusted 
to his charge; on April 29th and on May roth be mentioned in the 
authorization for the supplies desired; and, meanwhile, on May 
5th be back in Messina, where he signed his name as imperial no- 
tary? The name is identical, the conditions of time and place 
are met perfectly; it was exceedingly common for a notary to be 
chosen as muntius. So far everything is reconcilable. But one 
objection to such an hypothesis may still be raised: would a 
notary be in command of a fortress ?. Or, putting it in other 
words: would the governor of a fortress sign himself as imperial 
notary ? To remove this objection it must be borne in mind that 
an imperial notary of the thirteenth century was a man represent- 
ing the educated class and one who, besides his notarial duties, 
might be used in a number of forms of service to his ruler. A 
search for close parallels shows us that Henry, provost of Aix-la- 
Chapelle, was a notary of the Emperor’s and was referred to in 
Huillard-Bréholles, V, 281, under March, 1239, as Heinricum 
Aquensem prepositum, notarium et fidelem nostrum. Another case 
is that of the unnamed notary provost of Verden mentioned June, 
1245 in the words: “‘ Datum per manus magistri [name left blank] 
praepositi Werdensis, imperialis aulae notarii” (B.-F. 3479; 
H.-B., VI, 306). 

We do not at all presume that it is proved that the three refer- 
ences to a Jacobus de Lentino in 1240 all pertain to our notary 
poet; it has merely been shown that this is at least a possibility 
that cannot be totally ignored. Should this possibility be a fact, 
it would show that Giacomo in 1240 was not in the feeble state 
of advanced age, as he was able to act as envoy and carry the 
responsibilities of active military command. As envoy to the 
Emperor’s court at Lucera he would have the opportunity of 
meeting both Pier della Vigna and Jacopo Mostacci,! and this 
year would be as plausible a date as 1233 for the tenzone between 
the three. Moreover in April of 1240, Frederick held at Foggia 
a general parliament to which were summoned the representatives 


1 Both were then with Frederick. See B.-F. passim; H.-B., V, 960. 





xx INTRODUCTION 


of the cities of the kingdom, and this too would afford Giacomo 
an opportunity, though by no means the first or only one, of 
interchanging poetical courtesies with some of his distinguished 
contemporaries. 

Though we are left uncertain as to how long the Notary lived, 
he is at least referred to as already dead in the sonnet Di penne 
di paone (Ms. A 682),! written presumably between 1250 and 
1270, the period when Bonagiunta, the probable object of the 
satire, was known as a new singer (novo canzonero). 

An effort has been made to add to our meagre information 
about Giacomo by trying to identify two passages in the canzoni 
with definite historical events or conditions. A vague compari- 
son in stanza v of La ’namoranza to a battle fought “ on land or 
sea ” was used by Cesareo? to construct the theory that Giacomo 
wrote the poem in 1205, thus placing his poetical career in a 
period much earlier than is usually accepted, but the impossi- 
bility of this assumption has been clearly shown by Torraca.* 
Another passage, stanza v of Ben m’é venuto, refers to conditions 
in Italy when, in the mind of an imperial adherent, Florence was 
filled with pride and Pisa was dreading strife with the “ orgogliosa 
gente.’ The most plausible time for this condition of affairs, 
according to Borgognoni‘* and Torraca,® was about 1246 and 
1248. In the former year the Florentine Guelphs showed dis- 
satisfaction at Frederick’s appointment of a podesta, and in 
1248 they were overcome by the Ghibellines. In 1245, more- 


1 See App. viii. The authorship of the sonnet is disputed, but Ms. A is prob- 
ably correct, though the poet’s name is added by a second scribe. Monaci (Cres- 
tom., p. 309) favors assigning this sonnet to Maestro Francesco da Firenze (to whom 
it is attributed by Ms. H.), on the ground that Chiaro, who was himself a close 
imitator of the Notary, would hardly reproach Bonagiunta for the same fault. 
But the same might be said of Maestro Francesco, whose pieces seem almost an 
echo of Giacomo’s in ideas, expressions and technique (see D’Anc.C., canz. 197, 
sonnets, 498, 500, 502). Cf. K. McKenzie, in Publ. M. L. Ass. Amer., XII, 205. 

2 Poes. Sic., pp. 14-17. 

3 Studi, pp. 46 ff. Cf. also Pellegrini, Gior. Stor., vol. xxv, pp. 110. 

4 Studi d’erudizione e d’arte, Bologna, 1878, vol. ii, p. 145. 

5 Studi, pp. 21 ff. 


INTRODUCTION xxi 


over, Pisa was included in the excommunication issued by the 
pope against Frederick and his partisans. If this view were 
correct we should have evidence of Giacomo’s life extending at 
least to the year 1248, a fact not in the least surprising when we 
have the document of 1240, referred to above, bearing his signa- 
ture. But Torraca’s conclusions were opposed by Sanesi,! who 
contended that Pisa had always been devoted to the Empire, 
and that it is not necessary to come down as late as 1245 to 
explain the Notary’s statement, which does not contain any 
allusion to the pope or the Guelphs, but simply means: “imitate 
Pisa who is judicious and prudent, and fear a comparison or re- 
semblance to proud people.” Sanesi, moreover, saw in the 
allusion to the carroccio of Milan, a reference to the battle of 
Cortenuova, 1237, thus agreeing with the interpretation first pro- 
posed by Gaspary.? Pelaez* opposed the theories of both Tor- 
raca and Sanesi, regarding the reference as a vague one that 
might have referred equally well to the period between 1210 and 
1230. ‘This is perhaps the safest conclusion. 

We have then just two trustworthy dates for Giacomo’s life, 
1233 and 1240. No definite time can be given for his birth, but 
it must have occurred before 1210. His end is veiled in silence. 
Did he survive Pier della Vigna and Frederick, and live to see 
the tragic end of the Hohenstaufen cause, or did he die before 
hisemperor ? Wecannotsay. In any case, the dates we possess 
and his literary associations show him to be one of the very earliest 
Italian poets whose verse has come down to us. 

The influence of Giacomo and the esteem he enjoyed in the 
thirteenth century are attested by a reference in the sonnet of 
Chiaro Davanzati’s,t Di penne di paone e d’alire assai, in which 
Bonagiunta da Lucca is satirized as the crow falsely donning the 
brilliant peacock plumage of the Notary, then no longer living; 


1 Gior. Stor., vol. xlii, p. 165. 

2 Scuola sicil., pp. 18, 19. 

3 Krit. Jahresbericht, vol. vii (1902-03), pt. ii, pp. 244 ff. 
4 See above, p. xx, and App. viii. 





—— 





xxii INTRODUCTION 


and this accusation is in harmony with the words of Bonagiunta 
in Purg., xxiv, 55-60: 
‘O frate, issa veggio,’ disse, ‘ il nodo 
Che il Notaro e Guittone e me ritenne 
Di qua dal dolce stil nuovo ch’ i’ odo. 
Io veggio ben come le vostre penne 
Diretro al dittator sen vanno strette, 
Che delle nostre certo non avvenne.’ ! 


Here Giacomo is chosen by Dante as the chief representative of 
the Sicilians, who, like their followers Guittone and Bonagiunta, 
were prevented by the shackles of conventionality and artifice 
from attaining the sincerity and spontaneity of the dolce stil 
nuovo. 


2. Hrs PoETRY 


As the poetry of the Sicilian School has been frequently made the 
subject of exhaustive study, it is not necessary to repeat here con- 
cerning Giacomo that which is characteristic of the whole group. 
In a general way he has the merits and weaknesses of his fellow 
poets, though standing out prominently among them as their 
half-acknowledged chief. Far more of his poetry has been pre- 
served than that of any of the others, and in more variety of 
forms. Most of the other Frederician court poets are repre- 
sented in the existing Mss. by a few canzoni alone. Pier della 
Vigna and Jacopo da Mostacci have in addition one sonnet each, 
whereas Giacomo’s name appears over a score of canzoni, a much 
larger number of sonnets, and one discordo. 

With the exception of one sonnet the poetry of the Notary 
deals exclusively with the theme of love. His canzoni represent 
the worship of the lover for his proud and beautiful madonna, his 
entreaties for her mercy, his hesitation to declare his love, the cele- 
bration of the lady’s beauty, his exultation at the thought of her 
favors, and the sorrow he feels at being separated from her. The 


1 Cf. Krit. Jahresbericht, vol. xi, pt. ii, p. 340. 
2 In the Vulg. Elog., lib. i, c. 12, though he seems to be confused as to the 
authorship, Dante praises one of the Notary’s canzoni. See note to Canzone 1. 


INTRODUCTION xxiii 


sonnets, while treating similar themes, are especially concerned 
with the discussion of the nature and power of amore. In one son- 
net only the poet abandons his usual amorous theme and discusses 
instead the ideal of friendship. The one discordo of Giacomo’s 
that has come down to us is an amorous rhapsody, written in 
lines of varying length, with rimes in shifting order, and hence 
offering no regular division into stanzas. This form, somewhat 
akin to the Provengal bals,! did not survive long on Italian soil. 
The sense is often obscure, and it is evident that the words were 
entirely subordinate to the music. 

The style of the Notary’s work will be seen to present a cer- 
tain amount of variety. Though in most of the rime he carries 
on the conventions of the Provengal troubadours in the languish- 
ing worship of a proud madonna, often expressed with intricaté 
technical artifice, other pieces, strangely enough, contain a surly 
protest against these simpering insincerities; and again, in one or 
two lyrics, the style and the movement follow the realistic manner 
and sincere passionate tone of a more popular kind of poetry in 
which chivalrous conventions are unknown. This variety of 
manner has raised the question as to which is the earlier; a 
question of great delicacy and one, perhaps, that can never be 
decided. In fact the various styles of rime may be products of 
the same period in his life. Giacomo composed in a period when 
Italian poetry was probably being transformed, passing from a 
style and forms inherited from the people into those inspired by 
imitation of the poetry of other countries.2 The Emperor, his 
patron, was in close relations with such great Minnesingers as 
- Walter von der Vogelweide; and from the south of France the 
poetry of the troubadours was invading the court and winning 


1 Cf. M. Casella, in Bull. Soc. Dant., xix, pp. 281, 282, and the references 
therein given. 

2 Perhaps the older popular poetry was entirely supplanted in court favor by 
the time Giacomo began to write. Cesareo (p. 257) divided Giacomo’s poetical 
career into three stages: (1) ‘ borghese,’ (2) ‘ aulico,’ (3) ‘ dottrinario,’ but it seems 
improbable that his different manners correspond clearly to definite periods. Cf. 
De Lollis, Gior. Sior., xxvii, pp. 112 ff. 














XXiv INTRODUCTION 


increasing admiration. Giacomo was carried along with the 
movement and tried almost every possible experiment in the 
Provencal manner. One day he might have composed a can- 
zonetta, inspired directly or indirectly by some simple, sincere 
little Provencal song, and then a few days later been tempted to 
imitate the artificial graces of some technically elaborate canso, 
expressing the stereotyped form of courtly love, with the result 
that a modern reader feels inclined to assign the first piece to 
an earlier period of naive sincerity, and the second to a later 
development, when in reality the difference of manner is simply 
derived from a foreign source. 

Giacomo’s poetic art had developed along with the growing 
popularity of Provengal style, to which his own pieces doubtless 
contributed. In time, by his exceptional talent he became a 
leader, an arbiter elegantiarwm in matters of amorous verse; men 
in various places, like Jacopo Mostacci, the Abbot of Tivoli, and 
the anonymous writer of Amore non saccio (Ms. A 72), appealed 
to him to decide questions of love or to plead their suit, until 
the worthy Notary grew weary of it all and expressed an indig- 
nant protest in the canzone Amor non vole ch’io clami and the 
sonnets in tenzone with the Abbot. Did any reform in his 
poetic manner result from this disgust at the prevailing fashion 
of lovers crying for mercy and appealing to a deified Amore ?} 
Was it merely a passing mood ? Was he still young at the time, 
or in middle age, or growing old? The sharpness of his tone to 
the Abbot and the latter’s great respect for him suggest old 
age. But, on the other hand, he was “ as full of love as a sponge 
is full of water,” 2? and could not bear the reproach of being un- 
scathed by Amore. Most probably he was in the prime of man- 
hood, and we may venture to look upon a sonnet like Jo m’agio 
posto in core as a product of this period, when he was still compara- 
tively young and yet at the full maturity of his art. 

Taken as a whole, Giacomo’s poetry shows clearly the efforts 


1 Cf. Bartoli, Storia d. lett. ital., ii, p. 171; Cesareo, pp. 268 ff. 
2 Cf. sonnet VII, ll. 13, 14. 


INTRODUCTION XXV 


of a man groping to find his way in the possibilities of poetic 
erpression. Some of his experiments, as for example when he 
tries to find his salvation in technical virtuosity, result disas- 
trously (Lo viso e son diviso). Sometimes he is flatly mediocre, 
but other pieces again combine a pretty, naive grace with con- 
ventionality of formula, and a few of the songs are charmingly 
sincere. 

Some of the canzoni are in the simplest forms (nos. 2, 3, 9, 10); 
but others show all the intricacies of Provengal technique.! The 
device of stanzas unissonans is used in canzoni 4, 5, 8 (coblas 
doblas) and 15. Collegamenio occurs in nos. 4, 7, 11, 12, I5. 
Internal rime, moreover, occurs in 1, 4, 5, 6, 12, 13, 14, 15} 
and the early form of Italian commiato, contained in the last 
stanza, identical in form with the others, occurs in no. 2. The 
most complicated canzoni are nos. 4 and 15. 

In the sonnet form Giacomo had no predecessors that are 
known to us. Of the thirty-five sonnets of the early Sicilian 
School that have survived, twenty-five are attributed to him; of 
these we have placed twenty-one in our undisputed class, and 
four others among the doubtful ones. There can therefore be 
little doubt that the Notary deserves the honor of being the 
earliest master of the sonnet, and it is quite possible that he was 
its inventor. 

All his sonnets, like the others of his school, have fourteen 
hendecasyllabic lines, with two quatrains, abab, abab, and a 
sestet. Only two sonnets have internal rimes (21 and 25). In 
the sestet three varieties of rime order occur: cde, cde, in fifteen 
sonnets out of twenty-five; cdc, ded, in nine; ccd, ccd,in one. In 
one of the sonnets with the cde, cde scheme, one of the rimes is 
the same as one in the quatrains (No. 3,¢c =a). This occurs 
also in the two other sonnets of the same tenzone and may be an 
embellishment suggested by the similar device, used in the can- 
zone, of repeating in the volia one of the rimes of the first part. 


1 For a discussion of the versification of the whole Frederician group see Repert- 
ory, Analysis of the Technique, pp. 500 ff. 





ee 


— 7 





xxvi INTRODUCTION 


In no. 17 two equivocal rimes are carried right through the son- 
net, the sestet having ccd, ccd (C =a, d=b). In the early 
Mss. the sestets are always divided into the two tercets. Equiv- 
ocal rimes are used in nos. 9 and 10, as well asin no. 17. In 
no. 21 the sestet closes with the repetition of the eleventh line, 
suggesting a kind of ritornello.1 

In a number of sonnets the tone is didactic and argumentative, 
rather than lyrical, and the effect of this group is distinctly 
monotonous. The best sonnets are those of purely lyric inspira- 
tion, such as nos. 15 and 16 (sestet). As we should expect, the 
artistic possibilities of the form have not yet been realized, and 
in general the movement is rather stiff and mechanical. 

After the Notary’s death, Italian poetry advanced with wonder- 
ful rapidity to the perfection of the dolce stil nuovo, and then to 
the finish and grace of the age of Petrarch, yet we see that the 
primitive art of Giacomo da Lentino is not forgotten, nor alto- 
gether despised. We have mentioned earlier the prominence 
given to him by Dante in the Purgatorio. The canzonieri of the 
end of the thirteenth century still assign him a commanding place 
among the fast fading Sicilians; and so it continues through the 
manuscripts of the fourteenth century. Petrarch, it is true, 
pays small respect to the poets of Frederick’s court,? but in the 
following century Lorenzo de’ Medici, who first after Dante 
attempted to classify and estimate the earliest poetry, declared 
that the Notary must not be passed over in silence,* and gave 
him the largest place among the few Sicilians in his canzoniere. 
Bembo and Trissino mention him with respect,‘ the famous Giun- 
tina edition of 1527 does not neglect him entirely, his memory is 


1 Cf. Biadene, Morfologia del sonetto, p. 19, note. 

2 Trionfo d’ Amore, canto 1m, ll. 34 ff. 

3 Né si deve il lucchese Bonagiunta e il Notaro da Lentino con silenzio trapas- 
sare; l’uno e l’altro grave e sentenzioso, ma in modo d’ogni fiore di leggiadria 
spogliati; che contenti doverebbero restare, se fra questa bella masnada di si 
onorati uomini li riceviamo. Epistola a Fed. d’Aragona in D’Ancona e Bacci, 
Man., ii, 84. 

* Bembo, Prose, lib. ii, p. 274, edit. of 1810; Trissino, Poetica, Div. 3. 


INTRODUCTION _ xxvii 


kept living in such works as the Topica poetica of Gilio and the 
Bella Mano until Allacci’s collection of lyrics brought to light 
many of his pieces that had slumbered in oblivion for over three 
centuries. After Allacci, Crescimbeni, Zana, and Occhi took up 
the tradition of Notaro Giacomo, till finally the large collection 
of Valeriani in 1816 added more poems to those already published, 
and presented Italy with practically all his lyrics preserved in the 
Mss. and a number of unauthentic ones, in a form very imper- 
fect, it is true, but of great value for the time. Since Valeriani, 
numerous anthologies and manuals have given, generally speak- 
ing, a fair representation of our poet’s work. With Bartoli, Caix, 
and Gaspary, the study of early Italian literature assumed more 
precision and historical appreciation, the activities of living 
scholars continued the work, and the poetry of the thirteenth 
century notary was at last published in part by D’Ancona and 
Comparetti and by Monaci in the oldest form available. Until 
the present time however it has not appeared complete in a 
critical edition.! 


Il. MANUSCRIPTS, EDITIONS, AND OTHER WORKS 
FREQUENTLY REFERRED TO 


I. MANUSCRIPTS 


A = Vaticano 3793. The richest Ms. collection of thirteenth century 
rime extant. Written near the end of the thirteenth century or the begin- 
ning of the fourteenth. Described by Caix, Origini, pp. 19-24. For the 
first time published complete by D’Ancona e Comparetti, 1875-88 (see 
D’Anc. C., below, p. xxxiv); published diplomatically by Satti, Egidi, and 
Festa, Societa Filologica Romana, 1902-1908. See also Grion in Boehmer’s 
Rom. Studien, i, 61, and Debenedetti, Intorno ad alcune postille di A. Colocci 
in ZRPh., xxviii, 56. 

It contains canzoni 1, 2, 3, 4, 5, 6, 7, 8, 13, 14 (anon.), 15 (rubric and first 
twelve lines lost), 16 (Guilglielmo Beroardi), 17 (Tiberto Galliziani da Pisa), 
18 (Piero de le Vingne), 19 (Rinaldo d’Aquino), 20 (Notaio Arigo Testa da 
Lentino), 21 (Piero de le Vingne), 22 (originally anon.; but an old anno- 
tator wrote over it “ Jacopo”). Fragments 1, 2. Discordo. Sonnets 


1 See under Baudo, in chapter on Editions, etc. 





a 


il rete eel 





xxviii INTRODUCTION 


5, 7) 9, 10, II, 12, 15, 27; 4, 6, and 8 (all three by the Abate di Tivoli in 
tenzone), 13 (anon.), 14 (anon.), 28 (anon.), 29 (Petri Morovelli), 31 (anon.), 
32 (anon.), 33 and 34 (Jacopo da Leona), 35 (Rustico Filippi), 36 (Bondie 
Dietaiuti). 

The canzoni 9, 10, 11, 12, 15 (first twelve lines), and the canzoni of which 
we have fragments 1 and 2 were originally in the two sheets which have 
been lost, between 3 and 4%. The first lines of these are given in the index 
to the codex. As they occur among an unbroken series of canzoni under 
Giacomo’s name, and as they have been preserved, with the exception of 
the two fragments, as Giacomo’s in B, in the part of common origin with A, 
there is hardly room for doubt that in A also they had this attribution. 
The two fragments are not found elsewhere. 


A! = Vaticano 4823. Acopy of A made at the order of Bembo or Colocci. 
See Monaci in ZRPh., i, 376; Casini, Poeti Bol., p. xxvii; Arnone, Rime di 
G. Cavalcanti, p. xxxiii; Egidi, I/ libro de varie romanze volg. (Soc. Fil. Rom., 
fasc., vii, p. xvii.) Not cited in the text. 


B = Laurenziano Rediano 9. Parchment Ms. of about the end of the 
thirteenth century. Described by Caix, Orig., pp. 6-9; published complete 
by Casini (J/ Canzoniere L-R.) in Collez. di Opere ined. 0 rare, Bologna, 1900. 

It contains canzoni 1, 2, 3, 4, 5, 8, 9, 10, 15, 16, 20; 17 (Rugieri d’Amici), 
21 (Notaro Stefano di Pronto di Messina). Discordo. Sonnets 13, 14, 16, 
17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 28, 29, 30. 

In the variants the words and letters in [ ] were added by a later hand; 
those in ( ) were cancelled by the old copyists. 


B! = Mediceo-Laurenziano pl. xc, inf. 37. Paper Ms. of the fifteenth cen- 
tury. The Sicilian pieces in it are derived from B. The table is given by 
A. M. Bandini, Catal. codd. Mss. bibl. Med.-Laur., vol. v, columns 435-448; 
see also Masséra, ZRPhH., xxvi, 11; Caix, Orig., 11-14. 

It contains canzoni 2, 16; sonnets 22, 30. 


B? = Vaticano 3213. Paper Ms. of the second half of the sixteenth cen- 
tury. A copy, as far as Giacomo’s verses are concerned, of Bt. See Casini, 
Poeti bol., p. xiii, and Gior. Stor., iii, 162 and note. 


It contains canzoni 2, 16; sonnets 22, 30. 


[B*] = The Aragonese collection; 7.¢., the collection of old rime made by 
Lorenzo de’ Medici for Frederick of Aragon; copied from B*. This collec- 
tion is now lost. See Casini, Poeti Bol., p. xii; Barbi, Studi di Mss., p. 5, 
n. 6, p. 8 n., p. 53; Manicardi-Masséra, Introduzione al testo critico del 
canzontere di Boccaccio, 1901, p. 8; Masséra, ZRPh., xxvi, 10-11. 

It must have contained canzoni 2, 16; sonnets 22, 30. 


1 According to Casini, Poeti bol., p. xii, it was the source of B!. 


INTRODUCTION Xxix 


Bt = Palatino 204. First half of the sixteenth century. A copy of B*. 
Caix, Orig., 14; Casini, Poett bolognesi, pp. xii, xiii; table in L. Gentile, 
I codici palat., i, 219; Masséra, ZRPh., xxvi, 11}. 

It contains canzone 2; sonnets 22, 30. 


BS = Jial. 554 of the Bibliothéque Nationale of Paris, of the sixteenth cen- 
tury. Another copy of B*. See Masséra, ZRPh., xxvi, p. 11; G. Mazzatinti, 
Inventario dei codd. ital. delle biblioteche di Francia, i, 109; ii, 130, ff. (table). 

It contains canzoni 2, 16; sonnets 22, 30. 


[B*] = Il Libro Reale. Canzoniere of about the year 1500, now lost. In 
the part containing rime of Giacomo it was a partial copy of B. See Monaci, 
ZRPh., i, 3753 Molteni, Gior. fil. rom., i, 50; Caix, Orig., 10; Debenedetti, 
ZRPh., xxviii, 56. 

It éontained canzoni 3, 4, 8, 10, 15, 16; also 21 (probably under Stefano 
di Pronto di Messina); discordo. 


B'= Moiicke 1487 of the Governativa of Lucca. Paper Ms. of the eighteenth 
century. Derived from B. See Parducci, Rimatori lucchesi, Bergamo, 
1905, p. xcvii; G. Zaccagnini, Rimatori pistoiesi, Pistoia, 1907, p. cxlii. 
Not cited in the variants. 

It contains under Giacomo’s name canzoni I, 2, 3, 4, 5, 8, 9, 15, 16, 20; 
discordo; sonnets 13, 14, 16-26, 28-30. 


C = Palatino 418. Parchment Ms. of about the end of the thirteenth 
century. See Caix, Orig., pp. 15-18, 265-269; Gentile, I Codici palatini, 
i, 580. Published by Bartoli and Casini in Propugnatore, 1881-1888, also 
separately 1888. 

It contains canzoni 1, 2, 5, 12, 17; also 9 (Rugieri d’Amici), rr (anon.), 
13 (Rinaldo d’Aquino), 15 (Guido da le Colonne), 16 (Piero de le Vigne), 
18 (Jacopo Mostacci), 19 (Rugieri d’Amici), 20 (Arrigus Divitis), 21 (Piero 
da le Vigne); sonnet 14 (anon.). 


C! = Universitario Bolognese 1289. Paper Ms. of the sixteenth century. 
Also called sometimes the Codex Amadei. The part (section I) containing 
the only piece of Giacomo’s was derived from the lost Beccadelli codex, 
which got it, directly or indirectly, from C, or from the same source. Con- 
tents given by Lamma, Gior. Stor., xx, 151, with additions by Frati, Gior. 
Stor., xxiv, 300. See also Masséra, ZRPh., xxvi, 8, 109. 

It contains canzone 12. 


D = Chigiano L, viii, 305. Parchment Ms. of the second half of the four- 
teenth century. See Caix, Orig., pp. 30-32. Published by Monaci and 
Molteni in Propugnatore, 1877-1878; also separately, 1877. See also Bartsch 
in Jahrbuch fiir rom. u. engl. Lit., 1870, xi, p. 173. 


1 Masséra (pp. 11, 12 of the ZRPh.) proposed the identification of this Ms. with the Brevio codex 
that contributed to the formation of J, but this could not be, as the Brevio must have contained 
canzone 16, lacking in B4. 








i ee i ah is i a 


a te 








XXX INTRODUCTION 


It contains canzoni 12, 18, 19, 21; also 13 (Rinaldo d’Aquino); sonnets 
4, 5, 6, 7, 35, and 36 (all six anon.), 37 and 38 (Iacopo Cavalcanti). 


D! = Magliabechiano, vii, 7, 1208. Paper Ms. of the first half of the fif- 
teenth century. Fragment of a larger canzoniere. Derived from D. See 
Casini, Sopra alcuni Mss. di rime in Gior. Stor., iv, 116. 

It contains canzone 19; also 21 (Jacomo da Tolentino); sonnet 37 (Jacopo 
Cavalcanti). 


E = Memoriali dell’ Archivio notarile di Bologna. The early Italian rime 
published by Carducci, Intorno ad alcune rime, etc., Imola, 1876; and by 
Pellegrini, Rime inedite, in Propugn., 1890, N.S., iii, part 2, 154-156. 

They contain canzone 1 (anno 1288, first fifty-one lines); sonnets 5 and 6 
(anon., anno 1300), 27 (anno 1310, first two lines). 


F = Vaticano Barberino Latino 3953 (formerly Barb., xlv, 47). Parch- 
ment. Compiled between 1325 and 1335 by Niccolé de’ Rossi of Treviso. 
Shows the coloring of the Venetian dialect. Published by G. Lega, in the 
Coll. di op. ined. o rare, Bologna, 1905. 

It contains sonnet 3; also sonnets 1 (Jacopo Mostacci, tenzone), 2 (Petro 
da la Vigna, tenzone), 28 and 30 (both under Monaldo d’Aquino). 


G = Codex Parmense 1081 (H.H., iii, 113). Paper Ms. of the first half © 
of the fifteenth century. See Costa in Gior. Stor., xii, xiii, xiv. In the one 
sonnet in our text it is closely related to B. 

It contains sonnet 281. 


H = Vaticano 3214. Paper Ms. of the early part of the sixteenth cen- 
tury, derived from the lost Beccadelli codex. Published by M. Pelaez, 
Bologna, 1895. See also Caix, Orig., p. 18; Manzoni in Riv. di Filol. Rom., 
i, 71; Masséra, ZRPh., xxvi, 5 ff., also 19. The two canzoni were derived 
by the Beccadelli codex, directly or indirectly, from C; the two sonnets 
seem indirectly related to D. The part of H containing the former we shall 
call H(C). 


It contains canzone 12; also 15 (anon.); sonnets 37, 38 (both under the 
name “ Jacopo ” only). 


J = Cod. Bartoliniano, of the sixteenth century. Table given by Masséra, 
Rivista delle Biblioteche, xi, 1900, pp. 64-80. See also Barbi, Studi di Mss., 
etc., Bologna, 1900; Masséra, ZRPh., xxvi, 1902, pp. 1 ff.; Lamma, Gior. 
Stor., xx, 151. Variants not given. 

It contains canzoni 2, 12, 16; also 13 (under Rinaldo d’Aquino); sonnets 
22, 30; also 5 (anon.), 37 (under Jacopo Cavalcanti). 

In the parts containing pieces by Notaro Giacomo J was derived from 
three different sources, and in accordance with these sources we shall dis- 


tinguish between J(B), J(C), J(D). 


1 For the copy of this sonnet I am indebted to the kindness of Professor Kenneth McKenzie of 
Yale University. 


INTRODUCTION Xxxi 


1. J(B) was derived from the so-called “ Brevio Ms.,” which came from 
B! and therefore indirectly from B. It contains canzoni 2, 16; sonnets 
22, 30. 

m. J(C) was derived from the Beccadelli Ms., now lost, which got can- 
zone 12 from C. It contains only canzone 12. 

mt. J(D), derived from the “ Bembo Ms.,” closely related to D, if not de- 
rived from it. It contains canzone 13, sonnets 5, 37. 


Ji = Ashburnhamiano 479, of the Laurentian Library at Florence. A 
sixteenth century copy of J. See Barbi, Studi, pp. 21 ff. and 51 ff.; Masséra, 
Riv. d. Bibl., xi, 67,68 note. The parts of J' derived through J from B, C, D 
are referred to as J'(B), J'(C), J‘(D). 

It contains canzoni 2, 12 (twice), 16; sonnets 22, 30. 


J’ = Riccardiano 2846. Of the sixteenth century, finished in 1581. De- 
rived from an interleaved copy of the Giunti edition of 1527 and from J'. 
See Barbi, p. 40, and Masséra, Riv., p. 68 note; table given by Casini, 
Gior. Stor., iii, 171 ff. The parts of J? derived through J from B, C, D are 
referred to as J°(B), J°(C) J*(D). 

It contains canzoni 2, 12, 16; also 13 (Rinaldo d’Aquino); sonnets 22, 30; 
also 37 (Jacopo Cavalcanti). 


J° = Ashburnhamiano 763 (Florence, Laurentian Lib.). Of about the 
year 1600. Derived from J. See Barbi, Studi, pp. 35-40 and 51. The 
parts of J* derived through J from B, C, D are referred to as J*(B), J*(C), 
J). 

It contains canzone 13 (under Rinaldo d’Aquino); sonnet 37 (Jacopo 
Cavalcanti). 

J‘ = Bolognese 2448. Of the second half of the sixteenth century. De- 
rived from J. See Barbi, Studi, p.6; Lamma, I codici Trombelli, in Propugn., 
N.S., vi, 1893, pt. 2, p. 227. Of J* there are several copies mentioned below. 
The parts of J* derived through J from B, C, D are referred to as J*(B), 
J*(©), JD). 

It contains canzoni 2, 16; also 13 (Rinaldo d’Aquino); sonnets 22, 30; 
also 5 (anon.). 

J° = Cod. Barbi, belonging to Sig. Michele Barbi. Written in 1564. A 
direct complete copy of J*. See Barbi, Studi, p. 6 and note. 


J* = Marciano IX ital. 292. Written 1753. Acopy of J‘. See Barbi, 
p. 6; Masséra, Rivista, pp. 65, 68 note. 

J’ = Bergamasco \, v, 47. Written by Serassi 1747. A copy of J‘. 
See Barbi, p. 6; Masséra, Rivista, p. 65, 68 note. 

J = Corsiniano 45, c. 12. Second half of the eighteenth century. A 
copy of J*. See Barbi, p. 6; Masséra, Rivista, 65, 68 note. 


J? = Nazionale of Naples, xiv, D. 16. Of the eighteenth century. A 
copy of J*. See Barbi, p. 6; Masséra, Rivista, 65, 68 note. 











XXXll INTRODUCTION 


J” = Bilancioniano, Bibl. Comun. di Bologna. A copy of J*. Masséra 
in Rivista, p. 65 note, 68 note. 


J" = Nazionale, Rome, 397. Written in 1855. A copy of J‘. See 
Barbi, Studi, p. 6. 


K = Chigiano L., iv, 131. Paper Ms. of the sixteenth century, “ di fonte 
molto dubbia ed impura.” See Casini, Poeti bol., p. xxi; Arnone, Rime di 
G. Cavalcanti, p. xxxi. Giacomo’s pieces derived from C. 

It contains canzoni 1, 2; also 13, 18 (anon.). 


L =Cod. Bologna. Parchment codex of the fourteenth century; so 
called because owned by Sig. Avv. C. Bologna of Florence. To-day it is 
the Marciano Ital., i, 529. See Casini, Poeti bol., p. viii, and in Propugn., 
N. S., xv, pt. 2, 331, article Rime ant. dei secc. xiii e xiv. Also Casini, Gior. 
Stor., li, 334. 

It contains the unauthentic sonnets 35, 36. 


M = Magliabechiano vii, 1040. Of the fourteenth century. Casini, 
Gior. Stor., ii, 339 note. The Italian pieces were published by Carducci, 
Cantilene e Ballate, pp. 52 ff.; by Ferrari, Bibliot. d. lett. pop., i, 69 fi., and by 
Wiese, Gior. Stor., ii, 115 ff. 

It contains the unauthentic sonnets 35 (Messer Palamides de Bellendore) 
and 36 (anon.). 


N = Magliabechiano 640. Of the sixteenth century. Mentioned by 
Trucchi, i, Correzioni, at end of the volume. 
It contains the unauthentic sonnet 39. 


O = Moiicke 1490 of the Governativa of Lucca. Paper Ms. of the eight- 
eenth century. Giacomo’s pieces are copied from Ms. C. On p. 150 
appears the list of Giacomo’s rime that are given in B’, with the omission 
of Madonna dir vi voglio. See Valeriani, I, pp. vi, vii; Propugn, xiv, pt. 
I, p. 233; Parducci, Rimatori lucchesi, p. xcviii. 

It contains under Giacomo’s name canzoni 12, 17. 


P = Moiicke 1499 of the Governativa of Lucca. Paper; eighteenth cen- 
tury. The library catalogue is mistaken in stating that this Ms. is similar 
to no. 1487 (B’). Giacomo’s pieces were probably derived from C. See 
Valeriani, pp. vi, vii. Parducci, Rimatori lucchesi, p. xcvili; Zaccagnini, 
Rimatori pistoiest, p. cxlii. 

It contains under Giacomo’s name canzoni 5, 12, 17. 


INTRODUCTION xxxili 


2. EDITIONS! AND OTHER WORKS FREQUENTLY REFERRED TO 


All.: Allacci, Poeti antichi raccolti da codd. Mss. delle biblioteche Vaticana e 
Barberina, Napoli, 1661. Contains canzoni: 2-8, 12, 13, 16, 18-21; dis- 
cordo; sonnets, 1, 2, 3, 5, 7; 9-12, 15, 22, 27, 30, 32-34, 37, 38. 

Andreola, Lirici del primo e secondo secolo (Parnasso ital., vol. ii), 1819, 
1820. Variants not given. 

Ant.: Lirici del sec. primo, secondo e terzo, Venezia, Antonelli, 1846; com- 
piled by Francesco Zanotto (vol. ix of the Parnasso ital.). Variants not 
given. It contains canzoni 1, 2, 7, 9, 13, 16, 19, 20; sonnets 2, 3, 7, 9, 10, 
13, 14, 15, 16, 17, 19, 20, 21, 22, 24, 26, 27, 34, 37- 

Baudo, Storia di Lentini, 2 vols., Lentini, 1898, 1902. Stabil. Tipogr., La 
Voce del Popolo. Vol. II contains almost all of Giacomo’s pieces, including 
most of the unauthentic ones. It is an uncritical copy of other editions, 
especially Valeriani. Though not an independent scholarly piece of work 
as far as the text of the poetry is concerned, it is occasionally cited in the 
variants, since it is the most complete collection of Giacomo’s poetry hitherto 
published. It lacks canzoni 11, 22; sonnets 4, 6, 8, 35, 36. 


Bella Mano . . . per Iacopo de Corbinelli, Paris, 1595. After p. 59 a 
“ Raccolta di antiche rime,” etc. Contains sonnet 22. 

Bertoni, G., I Duecenio, Milano, 1910. 

Bohmer, J. F., Acta Imperii Selecta, Innsbruck, 1870. 

B.-F.: Béhmer, J. F., Die Regesten des Kaiserreichs unter Philipp, Otto IV, 
Friedrich II, neu herausgegeben . . . von Julius Ficker, Innsbruck, 1881. 

But.: Butler, A. J., Te Forerunners of Dante, Oxford, 1910. It contains 
canzoni I, 2, 5, 7, 15, 17, 21. 

Caix, Origini della lingua poetica ital., Firenze, 1880. 

Card.: Carducci, G., Antica lirica ital., Firenze, 1907. It contains can- 
zoni 1, 2, 7, 13, 16; sonnets, 1-8, Io, II, 15, 16, 22. 

Cas. Ann.: Casini, Annotazioni in vol. v of D’Anc. C. 

Casini, Poeti bol.: Le Rime dei poeti bolognesi del sec. xiii, Bologna, 1881. 


Ces.: Cesareo, La poesia sicil. sotto gli Svevi, Catania, 1894. It contains 
canzoni 3, 7; sonnets I, 2, 3, 13. 


1 This does not pretend to be a complete bibliography, as the works containing one or two of the 
Notary’s pieces are innumerable; but we have endeavored to mention all those which are of interest 
and importance owing to their date, influence, or scholarly value. For a fuller description of the 
editions see Casini, Poeti bolognesi, pp. xxviii, ff.; see also Zambrini, Le opere volg. a stampa, 1884, 
with Supplementi by S. Morpurgo, Propugn., 1884-91. The other works listed here for convenience 
represent only a small number of those cited in the edition. 





XXXIV INTRODUCTION 


Crescim.; Crescimbene, Istoria e commentari della volgar poesia, Roma, 
1730-31. Contains canzone 20; discordo (first 23 lines); and sonnets 1, 2, 
IO, 37- 

D’Anc. B.: D’Ancona e Bacci, Manuale della lett. ital., vol. i (2d ed., 1902). 
It contains canzone 2; sonnets 3, 15. 

D’Anc. C.: D’Ancona e Comparetti, Le antiche rime volgari, (cod. vat. 
3793; our codex A), 5 vols., Bologna, 1875-88. 

Florilegio dei Lirici pi insegni d’Italia, Firenze, 1846. It contains 
canzone I; sonnets 16, 20. 

Garufi, Giacomo da Lentino, in Archivio stor. ital., series v, vol. xxxiii, 
pp. 401 fi. 


Garver, M. S., Sources of the Beast Similes in the Ital. Lyric of the thir- 
teenth century, in Rom. Forsch., xxi, 276 ff. 


Gasp.: Gaspary, A., La scuola poet. sicil. del sec. xiii. (Italian translation), 
Livorno, 1882. 

Giglio, G. A., Topica poetica, Venezia, Gobbi, 1580. Variants not given. 
(The editor has not been able to consult it.) 

Giunti: Sonetti e canzoni di diversi antichi autori toscani, etc., Firenze, eredi 
di F. Giunta, 1527. Contains canzone t. 


H.-B.: Huillard-Bréholles, J. L. A., Historia diplomatica Friderici Secundi, 
Paris, 1852-61. 


Ttalidnische Lieder des Hohenstaufischen Hofes in Sicilien, Stuttgart, 1843. 
See under Rosario below. It contains canzoni 1, 2, 6, 7, 12, 13, 16, 19, 213 
sonnets 3, 10, 12, 13, 16, 23, 30, 32, 37- 

Le M.: Scelta di poesie liriche dal primo secolo della lingua fino al 1700. 
Firenze, Le Monnier, 1839. Variants not given. It contains canzoni 1, 2, 
13, 15, 16, 19; sonnets 3, 10, 15, 22, 23, 24, 28, 30. 

Lucas.: The Oxford Book of Italian Verse, chosen by St. John Lucas, 
Oxford, 1910. It contains canzone 2. 

Masséra, Rivista: Di un importante Ms. di antiche rime volgari, in Rivista 
delle Biblioteche, xi (1900), pp. 64 ff. 

Mon.: Monaci, E., Crestomazia ital. dei primi secoli, Citta di Castello, 
3 fasci, 1889, 1897, 1912. It contains canzoni 1, 2, 3, 4, 7, 9, 20; discordo; 
sonnets 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 17, 25; 33) 34) 35, 36- 

Moranville, Luigi Sellias di, Rime antiche ossia poesie liriche ital. de’ 
secoli xiii, xiv, xv, Vienna, 1845. Contains sonnet 3. 

Nann.: Nannucci, V., Manuale d. lett. del primo secolo, Firenze, 1856, vol. i, 
It contains canzoni 1, 2, 13, 15, 16, 19, 20; sonnets 3, 10, 15, 22, 23, 24, 
38, 39, 35, 37: 


INTRODUCTION XXXV 


Occhi: Rime di diversi autori toscani in dodici libri raccolti, giuntovi moltis- 
sime cose che nella fiorentina ediz. del 1527 non si leggevano, Venezia, Occhi, 
1740. See under Zane below. It contains canzoni 1, 2, 12, 16, 19, 21; 
sonnets 2, 3, 10, II, I2, 15, 22, 27, 30, 32, 37. 

Parodi, Bull.: E. G. Parodi, Rima siciliana, rima aretina e bolognese, in 
Bullettino d. Societa Dantesca, xx (1913), pp. 113 ff. A most important 
article, reviewing Tallgren. 

Repertory: The Extant Repertory of the Early Sicilian Poets, by E. F. 
Langley. Pub. Mod. Language Assoc. of America, xxviii, 454 ff. 

Rosario, G., Discorsi intorno alla Sicilia, Palermo, 1821. Contains a con- 
siderable number of Giacomo’s pieces. Its variants are not given. From 
this work was derived the Italidinische Lieder des Hohenstaufischen Hofes in 
Sicilien, Stuttgart, 1843. 

Ros.: English translations by D. G. Rossetti, in The Early Italian Poets, 
London, J. M. Dent, 1904. Contains canzoni 2, 3, 7,9, 16; sonnets 15, 16, 23. 

Sabio, Giov. Ant. e fr. da, Rime di diversi autori toscani in dieci libri rac- 
colte, Venezia, 1532. The editor has not been able to consult this work. 

Savj-Lopez, Bartoli: Altitalienische Crestomathie von Paolo Savj-Lopez 
und Dr. M. Bartoli, Strassburg, 1903. It contains canzone 5; sonnet 15. 

Serassi: Poesie di alcuni antichi rimatori toscani tratte da un Ms. dell’ 
abate P. Serassi, Roma, 1774. It contains canzone 21. 

Tallgren, Oiva Joh., Sur la Rime italienne et les Siciliens du xiit® siécle. 
Observations sur les voyelles fermées et ouvertes. Reprint from the Mémoires 
de la Société néophilologique de Helsingfors, Tome v, 1909. See Parodi. 

Torr., Studi: F. Torraca, Studi su la lirica ital. del duecento, Bologna, 
1902. It contains canzone 4. 

Torr. Man.: Manuale della lett. ital. by F. Torraca, vol. i, Firenze, 1905. 
It contains canzoni 2, 20; sonnets 1, 2, 3. 

Trucchi, F., Poesie ital. di dugento autori, 4 vols., Prato, 1846. It contains 
sonnets 31, 33, 35, 39- 

Ulrich, J., Altitalienisches Lesebuch, Halle, 1886. Contains canzone 19. 

Val.: Poeti del primo secolo della lingua ital. (by Valeriani and Lampredi), 
2 vols., Firenze, 1816. It contains all the poems in this edition except 
canzoni 14, 22; sonnets 4, 6, 8, 31, 35, 36, 39. 

Villani, C., La lirica ital. delle origini, Pistoia, 1899. It contains canzoni 
3, 4, 7; Sonnets 9, 10, 17, 25. 

Villar.: Villarosa, Raccolta di rime antiche toscane, 4 vols., Palermo, 1817. 
It contains sonnets 1, 2. 

Wiese, B., Altitalienisches Elementarbuch, Heidelberg, 1904. It contains 
canzoni 13, 18, 19; sonnet 15. 


a Sa 


XXXVi INTRODUCTION 
Zenatti, Arrigo Testa e i primordi della lirica ital., 2d ed., Firenze, 1896. 
It contains canzone 20. 


Zane: Rime di diversi antichi autori toscani in dodici libri raccolte. Venezia, 
1731, Cristoforo Zane. See under Occhi (1740), which is a later edition of 
the same. 


Ill. METHOD OF THE EDITION 


THE oldest manuscripts extant containing Giacomo’s poetry were 
written rather more than half a century after the rime were 
composed. Of the three oldest, A, B, and C, the Vatican codex 
has been given the preference as a basis for this edition wherever 
possible, since it contains more of the Notary’s pieces than any 
other, its readings are generally excellent, its attributions com- 
paratively reliable, and its language is that of a Florentine copyist. 
Where A does not contain the text or lacks a part of it, B is 
used, if available. Where both A and B are lacking, we have 
had to resort to the less reliable C. These three Mss. have fur- 
nished the text for all the authentic or doubtful pieces except the 
first tenzone, for which we have only the one codex F. Ms. B, as 
Caix has shown,! consists of two parts, written by two different 
scribes ? and from different sources; the first scribe wrote canzoni 
1-107, and the sonnets 126-362; the second, canzoni 108-125 and 
the sonnets 363-433. The first part, though exceedingly accurate, 
was written by a Pisan copyist, and the language has conse- 
quently a Pisan coloring. The part written by the second scribe 
has in one section a common source with A, and very fortunately 
supplies canz. 10, the end of no. 8, and the beginning of no. 15, 
which were originally in A, but are now lost. In this last men- 
tioned section of Ms. B the readings and even the orthography 
are almost identical with A. C, though a beautiful piece of 
external workmanship, is often very defective in its readings and 
attributions. D, so valuable for the rime of Dante and his 
circle, is infinitely less authoritative for the Sicilian School. For 
1 Origini, p. 8. Cf. Casini, I] Canzoniere L-R, pp. xi ff. 


2 There may have been three. 
3 Cf. Tallgren, 308, note 2. 


INTRODUCTION XXXxvii 


canzoni 12 and 13 it has the same source as C, but follows a 
different tradition for canzoni 18, 19, and 21. 

E is of great value on account of its early date, but its authority 
is lessened by the fact that it doubtless represents oral tradition. 
G, for the one sonnet of Giacomo’s that it contains, is apparently 
derived from B or from the same source. H is derived from C or 
the same source for the two canzoni, and for the two sonnets has 
possibly the same source as D. 

The relation of the J family to its various sources is shown in 
the table on the following page. 

The number of Mss. clearly showing independence is therefore 
comparatively small, A, B, C, D, E, F, and in these close inter- 
relations exist in the case of some of the pieces. In our apparatus 
we give, as a general practice, only the variants of these Mss. 
and of Gand H. A codex like B' differs from its splendid parent 
B only orthographically, and affords no real aid. In the case of 
J, with its numerous derivatives, we are dealing with copies of 
copies, and we have found this family useful only in interpreting 
canzone 12. Under the unauthentic sonnets the variants of M 
are given for numbers 35 and 36. 

We have cited variants from only a few editions, and only the 
more important readings. 

In preparing a text for the rime of Giacomo Notaro we are con- 
fronted with the difficult and still disputed question of the lan- 
guage. Assuming that the language used by the insular poets of 
Frederick IT’s court, though fundamentally Sicilian, was, to some 
extent at least, hybrid in its nature, showing the influence of 
Latin, Provencal, and adjacent dialects, and that the form in 
which it appears in the Tuscan manuscripts presents still further 
confusion, it is evident that any attempt to introduce thorough 
unification would be arbitrary and ill-advised. The editor there- 
fore has followed in each case the manuscript as closely as pos- 
sible, departing from it only when the reading is bad, or when two 
other independent manuscripts agree in a different and acceptable 


1 Cf. Parodi, Bull., 127 (second paragraph). 





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INTRODUCTION 








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(or ‘z ‘zuvp) (ore ‘zuvy) = (e “zuvd) (91 ‘z “zue)) 
OpAarg of 23 of 
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SHOUNOS SLI OL ATINVY [ AHL JO NOILVITY AHL ONIMOHS ATAV], 


INTRODUCTION XXxix 


reading. The fluctuation and confusion of forms, as we have said, 
is respected. In general the rimes of 7 with e have been modified 
to rime perfectly; those of o with uw have been left unchanged in 
such cases as -0s0, -uso, -otto, -uito, -ora, -wra, -ono, -uno, etc., 
where the scribal practice in all the Mss. agrees in showing an 
aversion to the Sicilian rime. This policy, especially after the 
appearance of such recent studies as those of Tallgren and Parodi,! 
may seem timid and inconsistent; but although I am heartily in 
agreement with the theory of originally perfect rimes as expressed 
by these scholars, I feel that it would be rather doing violence to 
the form of language in which this poetry has been preserved to 
introduce them throughout. There was no great aversion to writ- 
ing Sicilian 7 for e on the part of the scribes, as seen by numerous 
examples like avire, dirt (= dire), siri (sire), mestiri (mestieri), 
and inversely ofese (ofesi), etc., but, apart from a few cases like 
nui and vui, a Sicilian u for o is exceedingly rare in the Mss. It 
would be quite a different matter if we consistently Sicilianized 
the forms within the line, as well as in the rime, but to make the 
changes in the latter position only, introduces at once a rather 
striking discrepancy of forms. 

In the matter of orthography a slight amount of retouching 
has been done for the sake of clearness and unity. Thus ce has 
been substituted for cie; ge for gie; gli for Igli, gl or li; gn for 
ngn; ti for ct; ch for k; c for ch or k before a, 0, u; g for gh before 
a, 0, %. Occasionally a double consonant has been simplified, 
as in omo for ommo, morte for mortie, where the scribe himself is 
not always consistent, and where the value of his doubled con- 
sonant is not great enough to justify our imitating his awkward 
spellings. Wherever the orthography of the main Mss. has been 
departed from, the original will be found in the variants. The 
orthographic variants, however, for later and less important Mss. 
are not always given. In the text for the first tenzone the forms 
of Ms. F have been slightly modified to reduce them to the 
equivalents of the Tuscan Ms. A, in view of the uncertain 


1 Tallgren, la Rime italienne; Parodi, Bull. 


——- ll ee ee 


xl INTRODUCTION 


value of some of the Venetian spellings, and for the sake of 
unity. 

In the punctuation modern standards have been followed, and 
no special note has been made in the variants of the use of capitals 
in the Mss., but the general practice in A, B, and C may be here 
mentioned. In A the volia of the canzoni is clearly marked and 
generally begins with a capital; the sonnets have a distinct divi- 
sion into octave and sestet, and the second tercet usually begins 
with a capital. In B the practice varies in the canzoni with the 
different scribes: the first copyist usually has a capital at the 
beginning of each metrical division and subdivision (volta, piede, 
verso); the second copyist generally has an inverted semicolon 
before the volta, or begins the volta with a capital; both copyists, 
in the sonnets, have capitals at the beginning of lines 3, 5, 7, 9, 12, 
with a space after the octave and the first tercet. C has generally 
in the canzoni a capital beginning each metrical division or sub- 
division (volta, piede, verso);1 in the sonnets, a capital at lines 
3, 5) 7) 9, 12, and a space after the octave. 

It has been thought wiser to keep the text as free as possible 
from brackets and parentheses. Only where considerable la- 
cunae occur in the codex have brackets been used around the 
words supplied. For conjunctions, articles, and other such 
minor additions no brackets are used in the text, but the addition 
is noted in the variants. 

The arrangement of the pieces is as follows: first, a division 
according to metrical forms into Canzoni, Discordo, Sonnets; 
second, within the groups of canzoni and sonnets subdivisions 
are made on the basis of authenticity, and within each of these 
subdivisions the arrangement follows the order of the Mss. A, B, 
C (except in the case of the first tenzone, which is taken from F). 

As our text is arranged on the basis of authenticity, and the 
notes explain the evidence for each doubtful case, it is not neces- 
sary here to go into the details of the question of authorship. In 
general the authenticity can be judged on the basis of the attribu- 


1 Not at the second verso of canzone 13. 


INTRODUCTION xli 








n of the Ms. or Mss., the possible mention of the poet’s name 
thin the piece itself, the metrical form, the general style, and 
‘rime vowels. Often when the attributions of the Mss. differ, 
d the poet’s name is not mentioned in the piece itself, it is 
ossible to reach a final decision, as the remaining forms of 
ence might apply equally well to the other Sicilian poets of 
2 time. The evidence of the rime vowels is effective, however, 
n the case of canzone 16 (Membrando cid c’ Amore) and sonnet 27 

come pote), and the arguments of form and style oblige us to 
ard at once a sonnet like Re glorioso (no. 39). 





a ete 


a 7 Pe aed 


pita wea 


a 


a | 
ih met 


. eo 


as te 














CANZONI 


I 


A1, B55, B? p. 68, C 37, E anno 1288 (Il. 1-51), K (C) p. sr. 

Giunti, 109; Occhi, 304; Val., I, 249; Ant., 57; Le M., 13; Nann., 107; Mon., 
51; Carducci, Intorno ad alcune rime, p. 11; Baudo, 106; Card., 30; But., 4. 

Mss.: A has cie for ce, gie for ge, ngn for gn, and in ll. x and 3 /gli for gli. B has 
cie for ce in ll. 35, 44; gie for ge in 42, 44, gl for gli. C hasct for #, k for guttural 
cor ch (Il. 2, 4, 12, 14, 26, 28, 36, 39, 45, 49, 58, 71, 73, 74 (ke), 77, 78). 


[Ms. A] 
1. Madonna, dir vi voglio 
come l’amor m’a priso; 
inver lo grande orgoglio 
4 che voi, bella, mostrate, e’ non m’ aita. 
Oi lasso! lo me’ core 
ch’ é ’n tante pene miso, 
che vede che si more 
8 per ben amare, e tenelosi a vita. 
Adunque morire’ eo ? 
No; ma lo core meo 
more spesso e pit: forte 
12 chenon faria di morte — naturale 
per voi, donna, cui ama, 
pit che sé stesso brama, 
e voi pur lo sdengate. 
16 Amor, vostr’ amistate — vide male. 

I. 1. A dire B uo C uoglo E Madona...vevojo 2. A amore A,C, 
E ony B como... prizo 3. C uostroargollio E orgojo 4. B,C,E no 
E mostrati 5. B Olasso B,C,Emeo E laso 6. Atantapena Be 
mizo C intantepenee miso 7. B,C keuiuequando more FE quando more 
8. A tenolosijn B,C,Ebene  B teneselo C teneselaita E amar tenelos 
en 9. B Dunque moruuiueo C Ordonquamoroeo E Donqua to. A nd 
fortte B assai piu spessoef. E m.piuspesoef. 12. A mortte C no 


to) 
chui B madonnacama E vuimadonac’ama 14. B pio E sisteso 
C, E sdegnate 16. B uidi C donquanostra E vostr amistade vidi 


3 





—— 


————— 


i ee i ot ee ee NR Rie ol 


4 CANZONI 


1. Lo meo ’namoramento 

nom po parire in detto; 
cosi com’ io lo sento 

20 core nol penzeria, né diria lingua; 
zd ch’ eo dico é neente. 
In ver, ch’ io son distretto 
tanto coralemente! 

24 Foc’ aio, non credo che mai si stingua, 
anzi si pur aluma. 
Perché non mi consuma ? 
La salamandra audivi 

28 canelo foco vivi— stando sana; 
cosi fo per long’ uso; 
vivo in foco amoroso, 
e non saccio che dica; 

32 ché’l mi’ lavoro spica — e poi non grana. 


mr. Madonna, si m’ avene 

ch’ i’ nom posso invenire 
com’ io dicesse bene 

36 la propia cosa ch’ io sento d’ amore. 
Si com’ omo in prodito 
lo cor mi fa sentire, 
che giamai non é chito 

40 fin tanto che non vene al suo sentore. 
Lo nom poter mi turba, 


17. C Delmioinnamoramento E E lo...innam. 18. B,E non... parer 
Ben C alcuna cosa odecto 19. B_ masicome lo C ma si comeo 
E cusi...eo0 20. B,C cornolopenseria C direa E pensaria ... lengua 
21. B Eccio...io...nente C cio E niente 22. Aionesono_ B eo 
8: keo ... constrecto E som destretto 24. B fochaio al cor; che] lacking 
C stringa; che] lacking E foco...se 25. B ansese...alluma C Inante 
pur salluma E ancise 26. B emai...meconsunma Cno_ Esec. 
27. B aldiue EE aldiue 28. B chenfralo...uiue CC dentro il... uiue 
E chenello... vive 29. B Eosiffo...0zo C Edeogiaperlungo E cusi 
... longo 30. B n focamorozo 31. B so chemi C saciokeo E so 
ch’eome 32. B,C ché]lacking; B lomio...enoningrana C lomeo... 
enomi E meo...enong. 33. E Madona 34. B eonon...auenire C keo 
non... auenire E enonposoavenire 35. C eo E cumeodicese 36. B eo 
C, E propria Eeo 37. B Chassi... omprudito C E paremi uno spirito 
E homoinpendito 38. A core C kalcor E me 39. A nonn_ B quito 
C e...non son E zamai non di chedo 40. B mentre non po tocchare il 


ie oe eS ee 


See PA 


le 


CANZONI 5 


com’ om che pinge e sturba, 
e pure li dispiace 
44 lo pingere che face, —e sé riprende. 
Ché non é per natura 
la propia pintura; 
e non é da blasmare 
48 omo che cade in mare, — se s’aprende. 


Iv. Lo vostro amor, che m’ave 

in mare tempestoso, 
é si como la nave 

52 c’a la fortuna gitta ogni pesanti, 
e campane per getto 
di loco periglioso. 
Similemente eo getto 

56 a voi, bella, li mie’ sospiri e pianti. 
E s’eo no gli gitasse, 
paria che sofondasse, 
e bene sofondara 

60 locor, tanto gravara — in su’ disio. 
Tanto si frange a terra 
tempesta che s’aterra, 
ed io cosi mi frango; 

64 quando sospiro e piango, — posar crio. 


v. Assai mi son mostrato 
a voi, donna spietata, 


C seo non posso trarlo E sos. 41. A potere B non poder mi(s)torba C non 
E non...me 42. A ommo- B comon...storba C comon E Cumm 
hom ... pingne 43- A pura C pero keli E despiache 44. B esse 
E pingnere... fache...si 45. A nonn B,C fa 46. C,E propria E pic- 
tura 47. A nonn C, Soca E plasm. 48. A ommo; in]lacking Ba 
che sap. C hom. .oue sap. E homo 49. A amore B uostr 
50. B_ tenpestozo pa 4% a lacking; cosi commo B essi C come E 
cusi 52. A pesantj (originally pesante) Bch... getta...pezante C ke 
— a...ognepesante 53. A camppa 8B canpan pe rlo g. C scanpane 

. giecto 54 J A dilloco B periglozo C di loco] lacking a B madonna 

.miei C m . piante 57. B Chesseo... ligittasse C Ke... li gittasse 
53. B parrea. pie A Sona C parria ke soffondasse 59. B ye ie forfon- 
dara C soffondara 60. A core B suodizio C suo 61. Asatera B 
Chetanto frange atterra C Ke tanto frange 62. B tenpesta chessatterra C e 
poi saterra 63. A lacks ed B,C eo cosi rinfrango 64. A creio B creo 
C quandeo ... e posar 65. A sono C Asai... sono 66. B bella 


6 CANZONI 


com’ io so’ inamorato; 
68 ma creio ch’ i’ dispiaceria a voi pinto. 
Poi c’ a me solo, lasso! 
cotal ventura é data, 
perché non me ne lasso ? 
72 Nom posso; di tal guisa Amor m’a vinto. 
Voria c’or avenisse 
che lo me’ cor uscisse 
come ’ncarnato tutto, 
76 eno dicesse motto — a voi sdengosa. 
C’Amore a tal l’adusse 
ca se vipra ivi fusse, 
natura perderia; 
80 a tal lo vederia — fora pietosa. 


Il 

A 2, B 58, B! f. 238, B? 1, [B'], B* carta 299%, B® f. 238", B’ p. 71>, J(B) 318 
JB) 229, FB) £. 122°, J*(B) 75, C 39, K (C) p. 55. 

All., 436; Occhi, 312; Val., I, 257; LeM., 14; Ant., 60; Nann., 114; Caix, 
Orig., 35; Mon., 42; Baudo, 95; D’Anc. B., 60; Torr., Man., 31; Card., 2; But., 8; 
Ros., 34; Lucas, 47. ' 

Mss.: A has cie for ce, gie for ge, ngn for gn, lgli for gli; B, gl for gli. C has 
k for guttural c or ch, ct for tt, gl for gli. A has stanzas IV to VII in this order: 
IV, VI, V, VII. Chas V, IV, VI; lacks VII. : 


[Ms. A] 
1. Maravigliosamente 


un amor mi distringe, 
3  esovenmi ad ogn’ ora, 


67. A sono B eo...innam.  C eo sono innam. 68. B credo che dis- 
piaceria uoi C credo ke dispiacerei uoi 69. C Per ka 70. A cotale 
71. B minde C nominde 72. A tale ... amore B non... guiza 
C non 73. A Adeo cor B Vorria C Ben uorria kauenisse 74. A 
alo...corech B meocorescisse C meo core oscisse 75. A tate.) 
incarnato 76. B non facesse motto uoisdegnoza C non...isdegnosa 77. A 
ataladusse Boch CC madusse 78. A fosse B casse uipera ifusse C 
ke ... uipera fosse 79. B perderea 80. A atalo 8B uederea... pietoza 
C ella mi uederia 


Editions: 6. Giunti, Nann., Baudo, Card. in tante pene @ miso _‘Val., Mon., 
But. tanta 7. Giunti, Val., Nann. = C8. Giunti é teneselo’ aita But. in 
vita 9g. Giunti=C_ 17,18. Giunti, Nann.,Baudo=C 22. Giuntieo... 
costretto 37. Giunti, Nann., and Baudo follow C in Il. 37-40. Val. impedito 
E’ parmi uno spirito Card. impendito Mon. inprodito, changed to impendito, 
p. 703 50. Giunti, Nann.m’émare 58, 60. D’Anc. C., s’offond. Nann., 


—— ee ee ee eee 


CANZONI 7 


com’ omo che ten mente 
in altra parte, e pinge 

6 la simile pintura. 
Cosi, bella, facci’ eo; 
dentro a lo core meo 

9 porto la tua figura. 


um. Incor par ch’i’ vi porte, 

pinta come parete, 

12 enon pare di fore. 
O Deo! co’ mi par forte! 
Non so se lo savete, 

I5 com’ io v’amo a bon core; 
ca son si vergognoso 
ch’ io pur vi guardo ascoso, 

18 enon vi mostro amore. 


mm. Avendo gran disio, 

dipinsi una pintura, 

21 bella, voi simigliante, 
€ quando voi non vio, 
guardo in quella figura, 

24 epar ch’ io vagia avante; 
si com’ om che si crede 
salvare per sua fede, 

27. ancor non vegia inante. 


But. s’affond. Mon. in the text (p. 53) had s’ofond., but has changed it in the 
Correzioni, p. 703, to sofond. 80. Giunti, Val., Nann. = C. 


II. 1. B Merauiglozam. C Merauilliosam. 2. A amore (mis) mi dis- 
tringne . A souene 8B essouenad oC mitene 4. A ommo... tene 
C Komon ke pone . C in altro exemplo p. 6.8 pintora 7. B facc 
C fac 8. B dentralo C kenfra lo Ce eggtins B figora to. A 
core pare . SAhg B Alo... eo p. porti 11. A voi sete 
B como - A_anzi masembra mortte B Emolto mi 14. A chenon; 
lo] lacking *S lo] vi C sapete 15. A originally como changed into comio; 
ammo B ama bon C con uamo di 16. A sono B Chasson wg 
Keo 17. A vipur B eo C ka pur 19. B dizio 20. A dipinssi 
B 21. A bella a v. C simiglante 22. A ueio C non ui ueo 
23. B nquellan pintura 24. B eppar ... eo uaggia C e] lacking; per 
dauante 25. A ommo B ssicr. C Kieie quello ke chee 26. A, C sal uarsi 
27. A nona dauante B nonuadauante 


8 CANZONI 


tv. Alcor m’arde una doglia, 
com’ om che ten lo foco 

30 alo suo seno ascoso, 

e quanto pit lo ’nvoglia 
alora arde pit: loco, 

33 enon po stare inchiuso; 
similemente eo ardo 
quando passo e non guardo 

36 a voi, viso amoroso. 


v. Se siete, quando passo, 

in ver voi non mi giro, 

39 _ bella, per isguardare. 
Andando, ad ogni passo 
gittone uno sospiro 

42 che mi face ancosciare. 
E certo bene ancoscio, 
c’a pena mi conoscio, 

45 tanto bella mi pare. 


vi. Assai v’agio laudato, 
madonna, in tute parti 
48 di belleze c’avete. 
Non so se v’é contato 
ched i’ ’1 faccia per arti, 
51 che voi ve ne dolete. 
Sacciatelo per singa, 


28. A Cosi marde Bard 29. A ommo...tene’ B teneil C onke 
telo 30. A la B su... ascozo CC indelsuo 31. A che quanto C 
quando... nuollia 32. B tanto prendepio C allora...piuin 33. B star 
rinchiozo C incluso 34. A oh in the Ms. similemente was followed by a word 
of which only a j is now visible (joe). A later hand substituted quasi. B eo] 
lacking C similitente 35. B passe non 36. B uizamorozo 37. A Seuoi 
B Sicolpo_ C Seoguardo 38. C no_ 39. B uoiguardare _ C per risguar- 
40. B,C ogne 41.B sigitto C gectoungran 42. B faciangosciare 
C o facemi angosciare 43. A ciertto B angosc. C bencognosco 44. B 
cha C cognosco 45. B forte 46. A Per zo siouo B uaggia A,B, 
C laudata 47. Bmolteparte C tucte 48. B bellessech C le bellece 
49. A contata 50. A facca...artti B chiolo... arte C keo lo facia 
C ke uoi pur nascondete 52. A Saccate B Aggiatelo .. . singua C 
Saciatel .insegna 53. A dirolinga B cio cheuoi dire. . lingua C cio 
keo . . dico al lingua 54. B uedite C uedrete 55. A Kanz. B Mia chan- 
sonetta fina 56. B uachanta 57. B mouetila maitina 58. B Dauante,. 


CANZONI | 9 


z ch’ i’ vi diré a linga, 
54 quando voi mi vedete. 
vu. Canzonetta novella, 
va e canta nova cosa 
57 (lévati da maitino!) 
davanti a la piu bella, 
fiore d’ogni amorosa, 
60 bionda pid c’auro fino: 
** Lo vostro amor, ch’é caro, 
donatelo al Notaro, 
63. ch’ é nato da Lentino.” 


A 4, B 109, [B* 66], BYp. 14g. UE 
All., 466; Val., I, 263; Mon., 46; Baudo, 103. Casini gives an emended version 
of A in his Annotaziont, vol. V, p. 319, of D’Ancona e Comparetti; Villani, Lir. ital., 
28; Cesareo, Poes. Sic., 269-272; Ros., 37. 
Mss.: A has cie for ce, gie for ge, ngn for gn, and Igli for gli (line 43); B ngn for gn. 
[Ms. A] 
1. Amor non vole ch’io clami 
merzede, c’onn’omo clama; 
né ched io m’avanti c’ami, 
c’ ogn’ omo s’avanta c’ama. 
5 Ché lo servire c’ onn’ omo 
sape fare non 4 nomo; 
e no é im presgio di laudare 
quello che sape ciascuno. 


fina 59. B ognamoroza 60. B pioch... fina 61. A amore’ B charo 
63. B dallentina 


Editions (all the editions pure the same stanza order as our text): 4. Me .) pon m. 

5. Val., Nann., Baudo = C . All., Occhi, Val., Nann., Baudo = 20, 23. 
Au, Val., Nann., Baudo, D’Anc. b,, Torr. = B (figura, pintura) 32. Bau, Occhi, 
Val., Nann., Baudo=B Card. allor prende pid 37. All. Sicolpo i 
S’’o colpo Val. Se voisiete Nann., Baudo S’eocolpo’ Ces. (p. 263) 
S’iscite 52. All., Occhi, Val., Nann., Baudo, D’Anc. B.=B _- 53. All., Occhi, 
Val., Nann., Baudo, D’Anc. B, Torr. Cid che vo’ (or voi) dire a lingua Card. 
Cid ch’ e’ vot dire’ Mon. zo k’e’ vai dire 55- All., Occhi., Val., Nann., Baudo 
follow B. In 57 the same editions have la mattina; in 58 alla pid fina 


Tl. 1. A Amore...chlami B uuole 2. A merze...chlama B merce 
con 3. A,B ch 4. A ommo 5. B con 6. A nonnanommo 
nonan n. 7 A nonne B non... pregio 8. A,B equello A ciaschuno 


pte) CANZONI 


A voi, bella, tale dono 
ro non voria apresentare. 


mm. Perzd l’Amore m’ insigna 

ch’ io non guardi a l’antra gente; 
non vuol ch’io resembri a scigna, 
c’ogni viso tene mente. 

15 Perzd eo, madonna mia, 
a voi non dimanderia 
merzede né pietanza; 
ché tanti son gli amatori 
ch’este ’scita di savori 

20 merzede per troppa usanza. 

mi. Ogni gioia ch’ é pit rara 

tenut’ é pit: preziosa; 
ancora che non sia cara, 
de V’altr’ é pit: graziosa; 

25 case este orientale 
lo zafiro, asai pit vale, 
ed 4 meno di vertute. 
E perzo ne le merzede 
lo mio core non v’ acede, 

30 ~perché l’uso 1’a ’nvilute. 


tv. Inviluti so’ i scolosmini 

di quel tempo ricordato, 

ch’ erano si gai e fini; 

nulla gioia non n’ é trovato. 

35 E le merzé siano strette, 

che i’ nulla parte sian dette; 

perché paiano gioie nove, 

i’ nulla parte sian trovate, 
9. A, B tal 1o. B_ uorria 11. A, B insengna 12. B altra 13. B 
resenbli 15. A,B perzo donna 17. A,B merze 18. A,B sono B li 
19. B santadi 20. A,B merze 25. A,B seste 31. A, B Inviluto sono 
li 32. A quello temppo B quello tenpo 34 B trouata 35-46 
elle B strecte 36. A, B i’] lacking; non siano; A partte B decte 
38. A, B siano A partte 39. A, B amadori 40. A jnfino ... comppie 


B Infine... conpie 41. A,B merze 42. A,B sauere...lo B meo 44.A 
medesimmo A,B ueo 46. A,B essere 47. A,B auere 49. B cusi 


=o 


CANZONI II 


né da gli amador chiamate 
40 infin che compie anni nove. 


v. Senza merzede potete 

saver, bella, ’1 mio disio, 
c’ assai meglio mi vedete 
ch’ io medesmo non mi vio. 

45 E pero s’a voi paresse 
altro ch’esser non dovesse, 
per lo vostro amore avire, 
unque gioia non ci perdiate; 
cosi volete amistate ? 

50 inanzi voria morire. 


A 6, B 111, [B® 68], B? p. 147°. 
All., 457; Vai., I, 274; Mon., 50; Mussafia, Rassegna bibliogr., III, p. 3; 
Baudo, 88; Villani, C., Lir. ital. p. 21; Torr., Studi, 62 ff. 
Mss.: A has /gli for gli, ngn for gn, B ngn for gn. In B the initial is lacking in 
the first lines of stanzas I, I, III, IV. 
[Ms. A] 
1. La ’namoranza — disiosa, 
che dentro al mi’ cor é nata 
di voi, madonn’ ae pur chiamata 
4 merzé; se fosse aventurosa! — 
E poi ch’ i’ non truovo pietanza, 
per paura o per dottare, 
s’ io perdo amare, 
8 Amor comanda ch’ io faccia arditanza. 


mu. Grande arditanza — e coragiosa 
in guiderdone Amor m’ a data; 
e vuol che donna sia ’quistata 
12 per forza di gioia amorosa. 
Editions: 2. The editions all have com’omo 1g. All., Val. sorte di | D’Anc. 


C., Mon., Baudo scinta difavori Ces. scinta 31. All., Val.colosmini Ces. 
So’ inviluti 36. Ces. *nnulla 38. Ces.’N nulla 40. Ces. ’Nfino 


IV. In the ascription A writes Notaro giacomo B Notaro Giacomo. Variants 
given for A and B only. 

3. B madonna et 4. A ffosse B fusse ... auenturos ue SOs 
trouo 8. A,B amore A facca 11. A,B uuole 12. A perper B forsa 


I2 CANZONI 


Ma troppo é villana credanza, 
che donna degia inconinzare; 
ma vergognare 
16 perch’io coninzi? non é mia spregianza. 


ui. Di mispregianza — Amor mi scusa, 

se gioia per me é coninzata 
di voi , che tant’ 6 disiata, 

20 esonne in vita cordogliosa; 
ca, bella, sanza dubitanza, 
tute fiate in voi mirare, 
veder mi pare 

24 una maravigliosa simiglianza. 


Iv. Tanto siete maravigliosa, 
quand’ i’ v’6 bene afigurata, 
_ ¢’ altro parete che ’ncarnata; 

28 se non ch’ io spero in voi, gioiosa. 
Ma tanto tarda la speranza! 
solamente per ridottare 
o i mal parlare, 

32 Amor non vuol ch’ io perda mia intendanza. 


v. Molt’ é gran cosa ed inoiosa 

chi vede cid che pit gli agrata, 
e via d’um passo é pit dotata 

36 ch’ é d’oltremare in Saragosa, 
e di bataglia, ov’ om si lanza 
a spada e lanza in terra o mare; 
e nom pensare 

40 di bandire una donna per dottanza. 


13. A, B credenza 14. B incominzare 16. B_ cominzi 17. A,B mia 
speranza ... schusa 18. B_ cominzata 20. B_ cordollios 22. B tucte 
23. A, B uedere 24. A marauiliosa B marauiglioza 25. B merauil- 
liosa 26. B affig. 27. B carnata 30. A,B per donare 31. A llare 
32. A,B amore... uuole 34. B li 35.B un 37. A ommo B Edin 
batallia...omo 38. A spade 8B lanze 39. B non 40. B doctanza. 
41. B doctosa 42. B pregiata 43. A morire B canci uorria morire 
44. A churociosa B curruciosa 45. A -enza B auerecannoscienza 47. B 
conportare 48. A,B gioia ... sso 


Editions: 3. All., Val., Mon., Baudo @ pur 16. Mussafia, Torr. mispreg. 
21. Val. cheabbella D’Anc.C.,Mon., Baudo C’abella 30. All., Val., Mon., 


CANZONI 13 


vi. Nulla bandita m’ é dottosa 

se non di voi, donna presgiata, 
c’anti voria morir di spata, 

44 ch’ i’ voi vedesse curociosa. 
Ma tanto avete conoscianza, 
ben mi dovreste perdonare, 
e comportare, 

48 s’io perdo gioi’, ché so m’aucide amanza. 


V 

A 7, B 56, B’ p. 69, C 19, O, P. 

All., 459; Val., I, 253; Baudo, 90; eet Tin Bartoli, 159; But., 10. Stanza 
IV also in Val., I, 138, 139. 

Mss.: B has the stanzas in the orderI, IJ, IV, III, V. InC stanza IV is lacking, 
but it appears by mistake as st. II of Inghilfredi’s Caunoscenca penosa ( C 20). 

A has cie for ce, gie for ge, mgn for gn, lgli for gli (except Il. 32, 36). B has gi for 
gli and -sa for -za (except 1. 32). C has¢ for z, k for ch (Il. 11, 13, 15, 20, 22, 24, 25, 
26, 34, 35, 38, 40), gl for gli (Il. x, 2), Wé (Il. 22, 23), 4 (L. 24). 


[Ms. A] 
1. Ben m’é venuto prima al cor doglienza, 
poi benvolenza — orgoglio m’ é rendente 
di voi, madonna, incontro a mia sofrenza. 
4 Noné valenza — far male a sofrente. 
Ma si é potente — vostra segnoria, 
c’avendo male, pit v’amo ogne dia; 
perd tutor la troppa sicuranza 
8 ubria conoscenza ed inoranza. 


tm. E dunque, Amor, ben fora convenenza 
d’aver temenza — come I’altra gente, 


Baudo follow the Mss. 31. All. Oilm. Val. Hoilm. D’Anc.C. E i’m. 
Torr. Einm. 36. D’Anc. C., Mon., Torr. Chedo. 37. Ces., Torr. édi 


V. A Notaro giacomo BN. Jacomo C Notaro Iacomo 

1. A core C uenuta prima cord. 2. A dorgolglio B ben uoglensa 
C benuoglenca mi rendete 3. B contra mia soffrensa C mia donna contr 
mia soffrenca 4. A nonne C afar ... soff. 5- B Tante p. B,C 
signoria 6.A uammo- 8B ogni’ C c)lacking 7. A tutora... sichur. 
B tuttor ...tropposiguransa C tuctor ... troppo es 8. B_ obbria 
canoscensa ‘eonoransa C oblia caunoscenga e honoranca . A —s, bene 
B Adunque C Adonqua...amore 10. A dauere B eee C d’ lack- 
ing; como quella 


14 CANZONI 


che tornano di lor discanoscenza 
12 ala credenza — di lor benvolente. 

Chi é temente — fuge villania, 

e per coverta tal fa cortesia, 

ch’ io non voria da voi bella semblanza, 
16 se dal core non vi venisse amanza. 


mr. Ch’ io non vi faccio, donna, contendenza, 

ma ubidenza, — ed amo coralmente; 
perd non dev’ io pianger penitenza, 

20 che nullo senza — colpa é penitente. 
Naturalmente — avene tutavia 
c’omo s’orgoglia a chi lo contraria; 
ma ’! vostro orgoglio passa sorchietanza, 

24 che si smisura contro ad umilianza. 


Iv. Echia torto batte e fa ’ncrescenza, 

di piacer penza — assai, poi che si pente; 
pero mi pasco di bona credenza, 

28 c’ Amor conenza — prima a dar tormente. 
Dunque pit gente — saria la gioia mia, 
se per mi’ amor I’orgoglio s’umilia, 
e la fereza torna ’n pietanza; 

32 be-llo pud fare Amor, ch’ egli é sua usanza. 


v. Mase voi sete sanza percepenza, 
como Florenza — che d’orgoglio sente, 
guardate a Pisa c’a gran conoscenza, 


tr. A loro’ 8B tornano la lor disconoscensa C loro scaunoscenca r2, A 
loro beneuol. B_ delobenuoglente C benuoglente 13. B, C fuggie 
14. B cortezia C ma per 15. B eo... uorrea ... donna senbiansa Cc 
Ke no... donna sembranga 16. B dalo B,C cor 17. A vil lacking; 
Kio B Eo C Eo... facio 18. A dibidenza ... coralem. B,C edje 
19. A piangiere B deggio planger C degia...penetengca 20. A colppa 
C ka... penetente 21. A Naturalem. 8B tuttauia C tuctauia 22. B 
The a before chi added by a later hand above the line. C sor(go)gollia ... 
lon. 23. B sorcoitansa C ma uostrorgollio ... sorcoitanga 24. B che 
dismizura contra um. C misura contra um. 25. A per tortto B lacks e 
before chi; o fa incre. C _ bacte nfa incr. 26. A di benfare penza e poi si 
B di far plagensa pensa poi 28. A amore coninza...dare B comensa C 
k...comenca prima 29. A saria piu gientefarla gioiamia B serea... gioi 
C Seria souente piu ricca la 30. A amorelorgh. 8B persoffrir ... sumelia 
C mio... largollio 31. A,C ’n]lacking B la(so) feressa...inp. 32. A,B 


CANZONI 15 


36 che teme ’ntenza — d’orgogliosa gente. 
Gia lungiamente — orgoglio v’ 4 ’m ballia; 
Melan a lo caroccio par che sia. 

Ma se si tarda l’umile speranza, 
40 chi sofra sgombra e vince ogne tardanza. 


A 8 (Notaro giacomo). VI 
All., 461; Val., I, 287; Baudo, 98. 


Ms. has cie for ce, gie for ge, ngn for gn and (gli for gli (except I. 49). 


1. Donna, eo languisco, e no so qua’ speranza 
mi da fidanza — ch’ io non mi diffidi; 
e se merzé e pietanza in voi non trovo, 
perduta provo — lo chiamar merzidi. 
5 Che tanto lungiamente 6 custumato, 

palese ed in celato, 
pur di merzé cherire, 
ch’ i’ non saccio altro dire; 
e s’altri m’ adomanda ched agio eo, 

Io eononso dir se non: merzé, per Deo! 


m. Amore non fue giusto partitoro, 
ch’io pur v’adoro — e voi non m’ intendate, 
si com’ eo presi a voi merzé chiamare. 
Ben dovea dare — a voi cor di pietate, 
15 c’a tutesor cad eo merzé chiamasse, 
in voi, donna, trovasse 
gran cor d’umilitate; 


amore B po...suuzanza C po...kellesu 33. A Uoisoche B E uoi che 
siete sensa C senca 34. B fiorensa C come fiorenca 35. B pisa di gran 
canoscensa C kainsecognoscenca 36. A chefugie B tensa... -oza 
intenca dorgolliosa 37. A vemballia B sil... ma inbailia C lungam.... 
ma inbailia 38. A pare B melano del charoccio ... chessia  C carrocio 
pare 39. B essesi C esisi 40. A sesofera. 8B originally chisofra conpie 
e uincie ogni tardansa; rearranged by a second hand thus: chi sofra e uincie conpie 
o.t. C ki sofra uince e sconpra one acordanca 

Editions: Savj-Lopez, Bartoli is based on B, and follows its order of stanzas. All. 
follows A. The other editions follow A in most readings. 


40. All. Se soffero...ogniusanza Val. soffre... ogn’ indugianza Bau- 
do se soffre 


VI. 4. chiamare merzede 5. chustumato 7. merzede cherere 8. nons- 
saccio 10. dire 14. bene...core 15. tutesore 17. core 


16 CANZONI 


se non tute fiate, 
facestemi a lo meno est’ amistanza, 
20 mille merzé vallesse una pietanza. 


mI. Donna, gran maraviglia mi donate, 
ché ’n voi sembrate — sono tante alore, 
passate di belleze ogn’ altra cosa, 
come la rosa — passa ogn’ altro fiore; 
25 e/l’adorneze, la qual v’acompagna, 
lo cor mi lancia e sagna, 
e per mi sta asai plui 
merzé, che non é in vui; 
€ se merzé con voi, bella, statesse, 
30 null’ altra valenza pit mi vallesse. 


tv. Non mi ricredo di merzé chiamare, 

perché contare — audivi a molta gente 

che lo leone este di tale usato, 

che quand’ é airato — pit fellonamente 
35 per cosa, c’omo face, si ricrede; 

in segno di merzede 

per merzé gira in pace. 

Gentile ira mi piace, 

ond’ io per mercé faccio ogne mi’ fatto, 
40 caper mercé s’apaga un gran misfatto. 


v. Sicome que’ che fanno a-llor nemici, 
c’ogn’ om mi dici, — merzede 6 trovato; 
ed io che faccio cosi, ratto provo, 
e non trovo — merzede in cui son dato. 
45 Madonna, in voi non aquistai gran preio, 
se non pure lo peio; 
e percid si combatte 
21. grande 22. sono tanto 25. le quali 26. core... lancca 27. e] lacking 
28. nonne ... voi 29. chon 32. ca contare 36. in] lacking 37. € per 
38. gienntile 39. facco 40. grande 41. quelli... ffannoalloro 42. omo 


43. cheffacco che cosi 44. ennon...chui 45. nonn 46. pur 48. Amore] 
lacking 50. enon voi... penssa 


Editions: 15. Val. Ch’a tutte l’or chea Diom. D’Anc.C., Baudo _ tutte 
for c’a Deo 22. All., D’Anc. C. sono tanto All. calore Val. Baudo 


CANZONI 17 
[Amore] in altrui fatte, 


e s’egli ’n altro vince, in questo perde, 
50 e’n voi, chi pit ci pensa, pid ci sperde. 


vil 
A 18 (Notaro giacomo). 
All., 464; Val., I, 285; Ant., 66; Mon., 42; Ces., 258; Villani, C., Lir., ital., 25; 
Baudo, 101; Card., 3; But., 7 (all under Giacomo); Ros., 96 (Rug. d’Amici). 


Ms.: has cie for ce, gie for ge, ngn for gn. 


1. Dolce coninciamento 
canto per la pit fina 
che sia, al mio parimento, 
d’Agri infino in Mesina; 
5 cioé la pit avenente. 

“O stella rilucente, 
che levi la maitina, 
quando m’apar davanti, 
li tuo’ dolzi sembianti 

Io m7’ incendon la corina.” 


ur. “‘ Dolce meo Sir, s’encendi, 

or io che degio fare ? 
tu stesso ti riprendi, 
se mi vei favellare. 

15 (Ca tu m’ai ’namorata, 
a lo cor m’ai lanciata 
si ca di for nom pare.” 
“ Rimembriti a la fiata 
quand’ io t’ebi abrazata, 

20 ali dolzi basciare ?” 


mr. Ed io basciando stava 
in gran diletamento 


Ché voi sembrate con tanto valore 25. Val., Baudoadornezza D’Anc.C. le 
qual 29. All. stetesse D’Anc.C. staresse 30. All., Baudo valeria Val. 
Valeria pid di quel chem. 35. All., Val. comef. 37. All. E per mercede gire 
in parte Val., Baudo Permette gire 43- Val. che fo, che cosi 48. All, 
D’Anc. C., Baudo Amore] lacking. 


VII. 8. A quanddo mapare 9. lisuo 10. minciendono tr. sire 13. ti] 
mi 14. uedi 16. core... lancata 17. fori 20. basciari 22, grande 


18 CANZONI 


con quella che m’amava, 
bionda, viso d’argento. 
25 Presente mi contava, 
e non mi si celava 
tuto suo convenente; 
e disse: “ io t’ameragio, 
e non ti falleragio 
30 a tuto ’] mio vivente. 


tv. Al mio vivente, amore, 

io non ti falliragio 
per lo lusingatore, 
che parla di fallagio; 

35 ed io si t’ameragio! 
per quello ch’é salvagio, 
Dio li mandi dolore! 
unque non vegna a magio! 
tant’ é di mal usagio, 

40 che di stat’ 4 gelore.” 


vilr 
A 9, B 112, [B® 69], B’ p. 148°. 
All., 477; Val., I, 276; Baudo, 85. 
Mss.: Stanzas IV and V lackingin A. They were on the lost sheets. A has cie 
for ce, /gli for gli, and mgn for gn. B has ngn for gn. 
[Ms. B] 
1. Troppo son dimorato 
i-llontano paise; 
non so in che guisa possa soferire, 
4 che son cotanto stato 
senza in cui si mise 
tutta belleze d’amore e servire. 
Molto tardi mi pento, 


28. ietam. 34. parila di tal f. 

Editions: 4. All., Val. Da quiinsinoa D’Anc.C. D’ogn’infino 8. Ces. 
m’appari avanti 9g. All., Val., Baudolisuoi 13. All, Val., D’Anc. C., Baudo, 
Card., But. ti]mi 14. All.semaccade D’Anc.C. Sem’vedi Ces. favillare 
17. Ces.fori’un pare 1g. All. thabbi D’Anc.C. Quandot’ebi 25. Val. 
pact _30. All. E ditucol mio 33. Val. Peralo 34. D’Anc. C. di tal f. 
37- All. mi 


CANZONI 19 


8 edico che follia 
me n’ a fatto alungare. 
Lasso! ben veggio e sento, 
_ morto fusse, dovria 
I2 a madonna tornare. 


tm. Ca s’io sono alungato, 
a null’ om non afesi 
quant’ a me solo, e i’ ne son al perire, 
16 eioneso’ il dannegiato. 
Poi, madonna, mi sfesi, 
mio é ’] dannagio ed ogne languire. 
Ca lo suo avenimento 
20 d’amare mi travallia, 
e comandami a dare 
a quella, a cui consento, 
core e corpo in sua ballia, 
24 e nulla non mi pare. 


mz. Dunqua son’io sturduto ? 
cid saccio certamente, 
con’ quelli c’a cercato cid che tene, 
28 cosi m’ é adivenuto, 
che lasso l’avenente, 
eo vo cercando, ed 6 noie e pene. 
Cotanto n’ 6 dolore, 
32 e vegiamento e doglia, 
veder e non potere 
cotanto di dolzore, 
amore e bona voglia, 
36 ch’ io!’ 6 creduto avere. 


Iv. Deo! com’ agio falluto! 
che cusi lungiamente 


VIII. r. A,B sono 2.A,B paese 4. A,B sono 5. A chui 6.A 
tute B tutte 8. A cheff. 9. B facto to. A, B_ bene A uegio 
11. A morttofosse B morte 13. A Kassio...allung. 14. A ommo... 
nonn B omo 1s. A, B ed... sono 16. A, B edio ... sono 17. B 
msfesi 18. A danagio 19. B Cha 20. A traualglia 21. A,B dire 
22. A chui 23. A corppo...balglia 25. A stunduto’ B sturiduto 29. 
B chellasso 31. B chotanto 32. B euengiamentoedolglia 35. B uollia 


20 CANZONI 


non son tornato a la mia dolce spene. 
40 Lasso! chi m’ a tenuto ? 
Follia, deh veramente! 
che m’a levato da gioia e di bene. 
Ochi e talento e core, 
44 ciascun perse s’argoglia, 
disiando vedere 
madonna mia a tuttore, 
quella che non s’argoglia; 
48 in ver lei ’] mio volere. 


v. Non vo’ pit soferenza, 
né dimorare oimai 
senza madonna, di cui moro, stando; 
52 ch’ Amor mi move ’ntenza, 
e dicemi: “ Che fai ? 
La tua donna si muor di te, asspettando.” 
Questo detto mi lanza, 
56 e fammi trangosciare 
si lo core, moragio 
se pit: faccio tardanza; 
tosto fard reo stare, 
60 di lei e di me dannagio. 


IX 


B 57 (N. Jacomo), B’ p. 70> (idem), C 40 (Rugieri d’Amici), [A 13, lost]. 
Val., I, 255; Ant., 59; Mon., 45; Baudo, 121; Ros., 38. 


Mss.: The index to A gives the first two lines and a half thus: Madonna mia 
auoi mando jngioia ... sospiri. gialungia C has —anga for —ansa, ct for tt, k for ch. 
Stanza V is lacking in C. 

[Ms. B] 


1. Madonna mia, a voi mando 
in gioi’ li miei sospiri; 


39. B sono... donna spene 41. B diliueramente 44. B ciascuno ... sargollia 
46. Batuctore 47. Bsargollia 48. Blomio 52. Bamore 53. Bcheffai 54.B 
muore ... asspectando (Casini has tt by mistake) 55. Bdecto 56. B fanmi 

Editions: 5. Baudo sommise 13. All. Io sono Val. Mas’io 17. All. 
E p. ... mi stisi Val. stesi 21. All. Baudo E travagliami col dare 
Val. comandarmi 22. All. Maq. 27. All. quello...sente 30. Val. E’l 
vo cercando, ed ho noie 32. All. mi d. 34. All., Val., Baudo Con tanto 
44. Val., Baudo per se 


eS MEF OF eG Se - 


CANZONI aI 


ca lungiamente amando 
4 non vi porea mai diri 
com’ era vostro amante, 
e lealmente amava, 
e perd ch’io dottava, 
8 non vo facea senbrante. 


u. Tanto set’ alta e grande, 

ch’io v’amo pur dottando, 
e non so cui vo mande 

I2 per messaggio parlando. 
Und’ io prego l’Amore, 
a cui prega ogni amanti, 
li miei sospiri e pianti 

16 vo pungano lo core. 


mr. Ben vorria, s’io potesse, 

quanti sospiri getto, 
c’ ogni sospiro avesse 

20 spirito e intelletto, 
ch’a voi, donna, d’amare 
dimandasser pietansa, 
da poi che per dottansa 

24 non vo posso parlare. 


Iv. Voi, donna, m’ alcidete 

e faitemi penare; 
da poi che voi vedete 

28 ch’io vo dotto parlare, 
perché non mi mandate, 
tuttavia confortando, 
ch’eo non desperi, amando, 

32 de la vostra amistate ? 

IX. 2.C mei 3.C Ecoralmente 4.C uiuolsi B,C dire 6.C 
ecoralmente 7. C ma... keo 8. C ui mostrai sembiante g. C sete 
to. C keo 11. C Nonaopercuiui 12. C messagier 13.C eco 14.B 
accuipregha C seruenli 15. C mei 16.C ui 17. C eo 18. C quando 
19. C c’] lacking; ciascuno 20. C animae 22. C domandassen 23. C dakeo 
per 24. C no mauso dimostrare 25. C ancidete 26. B egiate a p. 


27. C kemi 28. C uidoctoinparlare 29. C Comeno 30. C madonnac. 
31. C kio...disperi 32. C uostr 


-_ 


22 CANZONI 


v. Vostra cera plagente, 

mercé, quando vo chiamo, 
m’incalcia fortemente 

36 ch’io v’ami pit ch’io v’amo. 
Ch’io non vi poteria 
pit coralmente amare, 
ancor che pill penare 

40 poriasi, donna mia. 


vi. In gran dilettans’ era, 
madonna, in quello giorno 
quando vi formai in cera 

44 la bellesse d’intorno. 
Pit bella mi parete 
ca Isolda la bronda, 
amorosa, gioconda, 

48 che sovro ogn’ altra sete. 


vi. Ben sai che son vostr’ omo, 
s’a voi non dispiacesse, 
ancora che’l mio nomo, 

52 madonna, non dicesse. 
Per vostro amor fui nato, 
nato fui da Lentino; 
dunqua debb’ esser fino, 

56 da poi ch’ a voi son dato. 


41. C dilectanca 43. B vi]ti C forma 44. B le C elebellece intorno 
46. B chaizolda C ke ysocta 47. B amoroza 48. B siete C flor dele 
donne 49. B chesson C so keoson uostro 51. C meo 53. C son 
54- B dallentino C fuinato 55. C donquadebbo 56. C keui 


Editions: 4. Mon. vivolsi 11. Val.,Baudo nonaocui Mon. non ao per 


— 


CANZONI 23 


x 


B 113 (anon., but one of six canzoni, 109-114, all the rest of which are attributed 
to Notar Giacomo). [A 14, in the lost part of the codex, and almost certainly under 
Giacomo’s name; B® 7o.] 

Val., I, 278; Baudo, 115. 


Mss.: The index to A gives the first two lines. B has c# for #, Ui for gli. 
[Ms. B] 
I. S’io doglio no é meraviglia, 

e se io sospiro e lamento 
amor lontano, mi piglia 

4 dogliosa pena, ch’eo sento, 
menbrando ch’eo sia diviso 
di vedere lo bel viso, 

7 per cui peno e sto ’n tormento. - 


um. Allegranza lo vedere 
mi donava prossimano; 
lo contrario degio avere 
1z_ ch’eo ne son fatto lontano. 
S’eo, vegendo, avea allegranza, 
or no la vegio, pesanza 
14 mi distringe e tene mano. 


mr. Lo meo core eo agio lassato 
a la dolze donna mia; 
_ dogliomi ch’eo so’ allungiato 
18 da si dolze conpagnia; 
co’ madonna sta lo core, 
che de lo meo petto é fore, 
21 edimora in sua bailia. 


Iv. Dogliomi e adiro sovente 
de lo core, che dimora 


cui 18. Val., Mon. quando Baudo quanto 24, 30, 48. Val., Mon., Baudo 
follow C. 


X. 1. A dolglio none marauilglia Bnon 2. Asio Bsed_ 5. B diuizo 
6. ueder...uizo 9. proximano II. sono 13. opezanza 14. distringie 
15. eolagio 17. sono 19. cho 22. ed 


24 CANZONI 


con madonna mia avenente 
25 insi gran bona ventura. 

Odio e invidio tale affare, 

che con lei non posso stare, 
28 né veder la sua figura. 


v. Sovente mi doglio e adiro; 
fugir mi fanno allegreze. 
Tuttavia raguardo e miro 
32 le suoe adornate fatteze, 
lo bel viso e l’ornamento, 
e lo dolze parlamento, 
35 occhi, ai! vaghi, e bronde treze. 


XI 


C 61 (anon.); [A 11, in the lost part of the codex containing canzoni by Giacomo]. 
Val., I, 151 (Inghilfredi Siciliano). 
Mss.: The index to A gives the first two and a half lines. C has ¢ for 2; ct 
for tt; ka, ke, ki for ca, che, chi. 
[Ms. C] 


1. Uno disio d’amore sovente 
mi ten la mente; 
temer mi face, e miso m’a in erranza. 
4 Non saccio s’io lo taccia, o dica neente 
di voi, pit gente. 
No vi dispiaccia; tant’ 6 dubitanza; 
ca s’eo lo tacio, vivo in penetenza; 
8 c’Amor m’intenza 
di cid che po avenire. 
Poria romanire 
in danno, che poria sortire a manti, 
12 se lor é detto: ‘ guardisi davanti’. 


m. E-s’eo 1d detto, temo molto piti 
non spiaccia a vui, 
a cui servir mi sforzo, donna fina; 
26.ed 28. uedere 29. et 30. fugire 34. et 


Editions: 19. Val., Baudo Chéin Madonna 34. Val., Baudo portamento 
XI. 2. A tiene 3. A temere C temerere ro. romanere 12. sellor 


a 


EE 


CANZONI 25 


16 ca semo per leanza, ch’ é ’ntra nui, 
d’uno cor dui. 
Temere mi face Amor, che mi mina; 
e se la mia temenza penserete, 
20 pit m’amerete, 
ché le mie paure 
non son se non d’amore. 
Chi cid non teme, male amar poria; 
24 e tutta mia paura é gelosia. 


mm. Geloso sono d’amor; ma dov’ éne, 
cosi mi stene, 
ch’ amore é piena cosa di paura; 
28 echi bene ama una cosa che tene, 
vive ‘nde in pene; 
ché teme no la perda per ventura. 
Donquw’ é rasion ch’eo trovi pietanza 
32 e perdonanza; 
ca s’eo in voi troppo isparlo, 
no son eo che parlo; 
Amore é, che tacente fa tornare 
36 lo ben parlante, e lo muto parlare. 


Iv. Donqua s’Amore non vole ch’eo taccia, 
non vi dispiaccia, 
s’ Amore é d’uno folle pensamento. 
40 Quell’ é la gioia che pit mi solaccia, 
par che mi sfaccia, 
ch’eo ebbi di voi, donna, conpimento. 
Ma no lo vorria avere avuto intando 
44 che vo pensando, 
e convenmi partire, 
in altra parte gire. 
La gioi’ che di voi, donna, agio avuta, 
48 no la mi credo aver mai si compiuta. 
13- piue 14. uoi 16. noi 18. mena 27. piana (Bartoli-Casini say that piana 
in the Ms. was corrected to piena, but my examination of the Ms. does not confirm 
this, though the first a is blurred) 29. vive] the e was added above the line 
40. solaga 41. sfaca 


> 


26 CANZONI 


v. Percid vorria ch’eo l’avesse ad avire 
ed a vedire, 
ché di cid nasce che mi discoraia, 
52 non adovegna com’ al mio temire. 
Vergogna é a dire, 
che sicuranza ormai nulla non daia. 
Ma si io son folle ne lo mio pensare, 
56 per troppo amare, 
ca spero in voi, avenente, 
ch’eo non seré perdente; 
si come da voi ebbi guiderdone, 
60 mi tragerete fuor d’ogne casone. 


XII 


C 10, C1 86, H(C) 10, J(C) 273, F(C) 98 and 228, J*(C) f. 124», D 234, O, P (all 
under Giacomo). [A 12, in the lost part of the codex]. 

AIL, 426; Occhi, 306; Val., I, 280; Baudo, 92. 

Mss.: Below we simplify J'(C) and J*(C) to J’, J’, and call the version of J' on 
carta 98, J'a; that on carta 228, J'b 

Variants of C, D, H, with a few important ones of J'a, J'b, J*. C has ¢ for z, 
ct for tt, k for ch, gl for gli. D has ¢ for 2, lgl for gli; sometimes k for ch, ch for c 
before 0; ci for tt. H has & for ch, and ct for #; sometimes & for c before 0; cie 
for ce; either gl or gli for gli. 

[Ms. C] 


1. Amando lungamente, 

disio ch’io vedesse 
quell’ ora ch’io piacesse, 

4 com’ io valesse — a voi, donna valente. 
Meravigliosamente 
mi sforzo, s’io potesse 
ch’ io cotanto valesse 

8 c’a voi paresse — lo mio affar piacente. 


49. auere 50. uedere 51. discoraia] (Bart.-Cas. have discoraria, but the second 
ris notinthe Ms). 52. cOal...temere 55. sio 


Val. follows the Ms. closely, but has the stanza lines incorrectly arranged. 


XII. x. D, H lungiam. 3. Jia, J? Qual + 5%, Tee 5. D,H 
Marau. 7. D chomiocontato 8D keuoi C,D affare 9. J'a, ¥ ben 


seruire 10. D laouetuttop. H toctop. Jb Tan’ b tenes CD; 
H, etc. piacere 12. D, H accio H eo 13. D intendenca J'a inten- 
danza aueel to intendimento, then restored 14. D,H ueggiate 15. H cag- 


——E— ee 


CANZONI 27 


Vorria servire a piacimento, 

la u’ tutt’ d piacire, 

e convertire — lo meo parlamento 
12 acid ch’ io sento; 

per intendanza de le mie parole 

vegiate come lo meo cor si dole. 


m. Non dole ch’ agia doglia, 
madonna, in voi amare; 
anti mi fa allegrare 
18 in voi pensare — l’amorosa voglia. 
Con gioi’ par che m’acoglia 
lo vostro innamorare; 
e per dolce aspettare 
22 veder mi pare — cid che mi s’orgoglia. 
Ma d’una cosa mi cordoglio, 
ch’eo non so in veritate 
che voi saciate — lo ben ch’eo vi voglio. 
26 Acid mi doglio: 
non posso dir di cento parti l’una 
Vamor ch’eo porto a la vostra persona. 


m1. Se l’amor ch’eo vi porto 
non posso dire in tutto, 
vagliami alcun bon motto; 
32 ché per un frutto — piace tutto un orto, 
e per un bon conforto 
si lassa un gran corrotto, 
e ritorna in disdutto; 
36 acid non dotto; — tal speranza porto. 
E se alcun torto mi vedete, 
ponete mente a voi; 
gia dolo 16. H di uo madonn amare _J'a In uoi Madonna (the in written 
instead of a cancelled word, ending in i, probably di) Jb Diuoim. J? like Jia 
17.H anzi 18. H gio... accoglia 19. D chemm ac. 21. H_ originally 
tropo; later cancelled, and dolce written in the margin 22.D chemmi 23. H 
madonna cosa (with a marginal note: Mad’una) J'a Madonna d’una (the words 
d’una added above the line) J’b Madonnacosami J* Madonnad’una_ 25. C, 
D bene H uosacciate 26. D,H accio 27. C,D dire 28. D amore 


29. D amore Hio 34.D lascia 35. D erritorna...dosdocto H retorna 
36. D,H accio C,D,H tale 37. C alcuno’ 38. H poi ne temente ad 


> 


28 CANZONI 


ch’ argoglio non é gioi’, — voi pur sapete; 
40 si bella sete, 

che cid che voi volete — a voi convene, 

e tutto quanto vegio a voi sta bene. 


Iv. E tutto quanto vio 
mi pare avenanteze, 
e somma di belleze; 
46 altra riccheze — né gio’ non disio. 
E nulla donna vio 
ch’agia tanta adorneze 
che la vostra alteze, 
50 enon basseze, — launde innamorio. 
E se amasse voi, madonna mia, 
e voi amaste meve, 
se fosse neve, — foco mi parria, 
54 enotte e dia, 


39-41. C ke bella piu ke perargoglo siete: ke sapete corgoglo no ne goia ma uoi 
conuene D,H the same as C (with only the esi orthographic variants: D, A 
gioia H orgoglo). J'a originally read for \l. 37-41: E s’alchun’ torto mi ue- 
desse Ponetementeauoichelabella Piu che per orgoglioscese Che sapete 
che orgoglio non e gioia Maauoiconueneet Et tutto quanto, etc. This is 
the reading of Ybalso. But Ja has the following manipulations: The words ma auoi 
conuene were first cancelled and beside them was written by another hand: Non e gioia, 
ma a uoi conuene; then lines 37-42 were cancelled and the same second hand wrote in 
the margin the reading given in our text, except that 1. 40 has ma cosi bella, and 1. 41 
lacks che before cio. Then the whole marginal addition (ll. 37-42) was cancelled, 
probably because very confused, and copied with these changes: 37. et s’alcun torto 
far uoi mi uedete 38. a] lacking before uoi_ 41. a] lacking J? for ll. 3748 has 
this last reading of Ja. 42. Dueggio 43. C uegio D,H ueggio 45. De] 
lacking H, J'b the whole line lacking Jia originally the line was sais 4 but was 
added in the margin by a later hand 46. All the Mss. have altre 0D ricchegcce . 
gioia H, Jb ne neggioaltradixio J'a the line was originally lacking, but the reading 
of our text was added in the margin. J* the line a 47. C,H ueo D ueggio 
48. All the Mss. have tante D,H aggia 49. All the Mss. have le uostre D 
chelle ... altegge H altezze 50. D Nasseece Sania eH -eze 51. C,D, 
H, J'}b Ese madonna mia amasse io uoi J'a had originally the same reading as 
the other Mss., but changed it to read like our text like our text 52. C, D, H, 
Jb amaste] lacking J'a had at first et uoi mene, but a more recent hand changed it 
toet uoiamaste meue J?, like J'a, the reading of ourtext 53. D paria 54. H e 


Ve ee ee ee ee ee 


CANZONI 29 


e tuttavia, — mentre ch’avragio amore; 
e chi ben ama, ritorna in dolzore. 


v. Non so com’eo vi paro, 
né che di me farete: 
ancider mi potrete, 
60 enon mi trovarete — core varo, 
ma tuttavia d’un aro, 
cotanto mi piacete; 
e morto mi vedrete, 
64 se no m’avrete —a lo vostro riparo, 
a lo conforto di pietanza, 
che mi cozi a lo core, 
e li ochi fore — piangano d’amanza 
68 ed’allegranza, 
con abondanza — de lo dolce pianto 
lo bel visagio bagni tutto quanto. 


noctedia J'a first had et notte et dia, but changed it later to et tutta n. et d., this 
latter the reading of J? 55. C cauaragio D mentrach aueraggio H etuttavia] 
e lacking 56. C eki bena... na indo... ore with erasure of about seven letters 
after bena. The last word is partly obliterated, but one can still read indo .. ore, 
with a space for two letters, and the lower part of a ¢ or z still visible; probably in dol- 
core. In the margin opposite bena a more recent hand has written vide, suggesting 
benavide. Before na a more recent hand has written over the erasure ritor, still fainily 
visible. Bart.-Cas. have incorrectly: bena ... na uideindolore D_ bene ama ri- 
tordaindolore H kil ben ama ritornai in dolore J'a ritorna (with n blotted) 
in dolore. Then a more recent hand cancelled the last two words and wrote in the 


_ margin: indolzore J'b dolore J? ritorda 59. C ancidere 60. D tro- 


uerrete H_ trouerete ore uaro (in the margin core for ore) J'a first hor auaro, 
ore to hora cor uaro Jb hora auaro FJ’ hora cor uaro 61. D uno 

a a ae 63. D, H, J'a, Jb, J? uedete 64.D,H non C,D,H 
a D al J'a a@ more recent hand added uostra above the line after di Ff 
wats 66. C mcogial D cheincoggial H kencocgial Ja, J’b, P 
ch’encozi 67. C (Bart.-Cas. have by mistake piangono for piangano) D elgii 
occhi 69. H abundanza 70. D,H uisaggio D bangni 


The editions follow fairly accurately the readings of C. The following variants may 
be noted: 3. Val. Qualora 7. Baudo com’io 23. Val. Mabened’una  37- 
42. Val. and Baudo like Ms. C 51-52 Val. and Baudo like Ms. C 56. Val. 
ritorna in dolore  Baudoritordaindolore 66. Val. Che entri al core 


CANZONI 
OF DISPUTED OR DOUBTFUL AUTHENTICITY 
(XTTI-XXIT) 


A. Propasty AUTHENTIC (XIII-XV) 


XIII 


A 3 Notar Giacomo. Under Rinaldo d’Aquino in C 27, D 230, J(D) 358, 
JF (D) 107, f. 64>, J3(D) carta 87%, J*(D) 113, carta 92%. Anonymous in K 131, 
carta 41. 

Under Giacomo: All., 478; Wiese, 201; Baudo, 132. Under Rinaldo: Val., I, 
227; Nann., 98; LeM., 12; Ant., 104; Card., 4. 

Mss. A, C, D: A has cie for ce, gie for ge, mgn for gn. C has k for ch, ka for 
ca (ll. 14 35, 37), ¢ for 2, ct for # (except 1. 15). D has ¢ for 2, -egge for -eze, 
generally ct for #, sometimes ch for c before a,0 and wu. All the orthographic 
variants of D are not given. In A there is a space of four lines between this 
canzone and A 4. 

[Ms. A]? 
1. Guiderdone aspetto avire 
di voi, donna, cui servire 
non m’ é noia. 

4, Si mi sete tanto altera, 
ancor spero avere intera 
d’amor gioia. 

Non vivo in disperanza, 

8 ancor che mi diffidi 
la vostra disdegnanza; 
ca spesse volte vidi, — ed é provato, 
omo di poco affare 


II. rt. C Guiliardone A,C auere D auer 2. A chui C dauo D da 
3. C no 4. C,D ancor ke mi siate altera 5. A ancora... dauere. C, D 
sempre sperodauere 6. A amore 8. A ancora 10. A audiui C keke 
D che 11r.A commo C homo =12.C,D gran 13. A selo 14.A 
moltipricare C moltiplicar D moltiplicare 15. A disperanza nonni mi 
C, D disperanga ... gitto C no 16. A medesemmo C, D inprom. 
17. A,C auere 18. A speranza C cor; @] lacking 1g. A portto ... 
leanza C kio 21.C,D Pero C no 22. A amore 23. C co homo 


3° 


a 


CANZONI 31 


12 per venire in gra’ loco, 
se si sape avanzare, 
moltipricar lo poco — c’a ’quistato. 


u. In dispranza non mi getto, 

ch’io medesmo m’ imprometto 
d’ aver bene. 

18 Di bon core é la leanza 
ch’ i’ vi porto, e la speranza 
mi mantene. 
A cid non mi scoragio 

22 d’amor che m’ a distretto: 
si com’ omo salvagio 
faragio, com’ é detto — ch’ello face: 
per lo reo tempo ride, 

26 sperando che poi pera 
la laida ara che vide; 
di donna troppo fera — spero pace. 


mi. S’io pur spero in allegranza, 
fina donna, pietanza 
in voi si mova. 
32 Fina donna, non siate 
fera, poi tanta bieltate 
in voi si trova. 
Ca donna c’a belleze, 
36 ed é sanza pietade, 
com’ omo é c’ 4 richeze, 
ed usa scarsitade — di cid c’ave; 
se non é bene apreso, 
40 né dritto né insegnato, 
da ogn’ omo n’é ripreso, 
oruto e dispresgiato, — e presgio 4 grave. 
24. A chelle detto C come odecto D chome o decto 25. A temppo 
C rio 27. A uede_ C,D lo laido dire ke C uene D uen 28. C 
dadona D da C,D aspecto 29. A ispero C _ between spero and in had 
pietan, which was cancelled; alegranca D ispero pieta in 30. C piatanca 
32.C nomi D nonmi_ 433. C, D belta 36.C,D senca OD pietate 
37, A ommo A,C,D @é]lacking CC ricchece 38. C,D e  D scharsi- 
tate 39. A non nne 40. A diritto ned C nodruto e D nodrito ed 


41. A ommo’ C ognonder. D uomo 42. C orrutoedispresiatoe postoa 
D orrato ... posto a 


| 


32 CANZONI 


Iv. Donna mia, ch’io nom perisca! 

s’io vi prego, non v’incrisca 
mia preghera: 

46 la belleze, che ’n voi pare, 
mi distringe, e lo sguardare 
de la cera. 
La figura piagente 

50 lo core mi diranca; 
quando vi tegno mente, 
lo spirito mi manca — e torna in ghiaccio. 
Né mica mi spaventa 

54 Jl’amoroso volere 
di cid che m’atalenta, 
ch’io no lo posso avere; — ond’ i’ mi sfaccio. 


XIV 


A 69 (anon.; but stanza m1 suggests Giacomo as the probable author). 

Baudo, 117. 

Ms.: Between this canzone and the one preceding it (A 68) there is a space 
of about two lines left blank. Instead of the author’s name, an annotator wrote 
“ partenza.”’ Between this and the next canzone in the codex a space of about 
four lines is left blank. 

The Ms. has cie for ce, Igli for gli, ngn for gn. 


1. Membrando |’ amoroso dipartire, 
com’ eo partivi di voi, donna mia, 
3 c’a pié basciando vi diceva: “‘ A deo! ” 
si forte mi combatton li sospire, 
pur aspetando, bella, quella dia 
6 com’ eo ritorni a voi, dolze amor meo; 


43. C,D Fina donna keo non 44. A, C, D incresca Ceo...no D eo 
... priego 45. C pregera D preghiera 46. A,C,D le 48. C ciera 
49. C, D piacente 50. D dirancia 51. A tengnio C,D uoi sa, C 
mancha 56. A sfacco C keo ... undeo ... sfacio D eo 


Editions: (Wiese’s text is a reproduction of A) 4, 5. Val., Nann., Baudo, Card. 
follow C 13. All. Selosape D’Anc. C., Card. S’ello sape — 14. All., Val., 
Nann., D’Anc. C., Baudo, Card. moltiprica D’Anc. C., Baudo, Card. conquis- 
tato 24. D’Anc.C. ch’el’@d. Wiese chell’é d. 40. Nann., Baudo Nudrito ed 


CANZONI 33 


si languisco eo, — madonna, pur pensando 
e disiando — com’eo mi torni a vui, 
g sica noi dui — viviamo in gio’ basciando. 


uu. La rasgione é lo dolze parlamento 

che tu dicevi a me, bella, im parvenza, 

12 lo giorno ch’eo da voi mi dipartivi: 
“‘ Se vai, amore, me lasci in tormento; 
io n’averd pensiero e cordoglienza, 

15 e disiro di venire a tivi. 
Come audivi — che vai lontana parte, 
da me si parte — la gio’ del meo core. 

18 Se vai, amore, — lo meo cor lasci im parte.” 


m1. Lo mio gire, amorosa, ben sacciate, 
mi fa contra volere in tute guise; 
21 a voiritornare gran disiro aio, 
ma lo meo sire, che m’a im potestate, 
‘a lo ’nconinciamento l’impromise 
24 diritornare a Lentino di maio. 
Lo meo coraio — d’altro nom si dilletta; 
tutora aspetta — che con voi sogiorni, 
27 in gio’ ritorni — la pena ch’ i’ 6 detta. 


tv. Certo, donna mia, nom sono alungato 
[da voi per sempre], ma ciascuna dia 
30 mi pare ch’ i’ sia di voi pil disioso; 
poi che ’1 corpo dimori in altro lato, 
lo cor con voi sogiorna tutavia. 
33 Ione so’ alegro, e vivone gioioso 
de l’amoroso — rimembrar ch’ io faccio, 


42. Val., Nann., Baudo, Card. onuto ...e posto a grave D’Anc.C., Wiese 
onuto Cas. (Ann.), Wiese spresgio a g. 


XIV. 3. midice(a)ua 4. fortte...combattono 6. amore 8. uoi 14. 
-anza 15. disioso...tevi 16. Sicome...partte 17. partte...gioia 18. 
core ... partte 19. benesaccate; amorosa] the last vowel might bea oro 21. “La 
i di aio nel cod. fu aggiunta sopra nell’ interlineo” (Satta) 23. lonconincamento 
26. voi sisog. 27. gioia...chiosento 28. Cierttomad.mia 29. da voi per 
sempre] lacking (proposed by Casini); ciaschuna 31. corppo 32. core 33. 
edio...sono 34. rimembrare ... facco 


— 


34 CANZONI 


quando im braccio — io vi tegnea basciando, 
36 adomandando — ’| comiato in sollaccio. 


v. Tanta baldanza in disio tenente 

e’ no creo che sia in alcuno amante, 

39 né agia in sua intendanza, al mio parere, 
quanta im privanza teno spessamente; 
e da me si non tolle e diparte mante 

42  fiate im braccio voi, bella, tenere; 
a cid avere, — mi par, si sonando, 
lo quando — vorei fossimo i’ loco 

45 che di tal foco — ramortasse mortando, 


XV 


B 114, [B® 71], B’? p. r50. A 16 (the poet’s name and the first twelve lines are 
lost, but the canzone was most probably attributed to Giacomo); C 71 (under 
Guido dale Colonne); H(C) 19 (anon.). 

Baudo, 119 (Giacomo). Under Guido in the“following: Val., 1, 183; Le M., 
11; Nann., 82; But., 40. 


Mss.: A lacks the poet’s name and the first twelve lines. Cand H lack stanza V. 
In the margin of H a 16th cent. hand wrote: “ Pud essere di Nofo?” A has cie 
for ce, igh for gli. B has Wi for gli, mgm for gn. C has ¢ for 2, ct for #t, k for ch. 
H has ke, kui for che, cui. 

[Ms. B] 


1. Poi non mi val merzé né ben servire 
inver madonna, in cui tegno speranza, 
3 eamo lealmente, 
non so che cosa mi poria valire; 
se non le prende di me pietanza, 


35. bracco ... tengna (uncertain whether the last vowel be a or 0) 36. lo... sol- 
lacco 37. tenete 38. alchuno 40. quante 41. dipartte 42. bracco; 
bella] Jacking 43. Aciomipare auere. uedere sisonando 44. tale 

Editions: 20. Baudo mifucontrav. 22. Baudo maalom. 37. D’Anc.C., 
Baudo tenete 40. D’Anc.C., Baudo Quante 41. D’Anc. C., and Baudo end 
1. 41 with diparte and begin 42 with mante 


XV. 1. C no... mercede 2. C,H mia d. 3. H e amme 4.C,H 
possa B,C,H ualere 5. C,H sedi me nole prende p. 7.C cagio H 
cangiao H niente 8. B doctanza Ceo H ondeo og. C,H sofferente 
to. C Sofferente seragio also © H Soffirente seraggio B,C,H piacere rr. 
C,H Vamo] lacking; e di puraleanza 12. C,H laseruo; ellacking 13. A, 
B perche ... bene C Angi uorrea... essa bene H Anziuorrei... ben A 





CANZONI 35 


6 ben morrd certamente. 

Per neente — mi cangid lo suo talento, 

und’ io tormento, — e vivo in gran dottanza, 
9g son di molte pene soferente. 


m1. Poi soferente sono al suo piacire, 
di bon core l’amo e co’ leanza, 
I2 e servo umilemente; 
ché meglio m’é per ella pena avire, 
che per un’ altra bene con baldanza, 
15 tanto le so’ ubidente. | 
Ardente — son di far suo piacimento: 
mai non 6 abento — d’aver sua menbranza, 
18 in quella, in cui disio spessamente. 


m1. Spessamente disio e sono al perire, 
menbrando che m’ 4 messo in ubrianza 
21 Jl’amorosa piagente; 
sanza misfatto no m’ dovea punire, 
né far partenza de la nostra amanza, 
24 per tanto é cannoscente. 
Temente — son, non 6 confortamento, 
poi valimento — non da, ma pesanza, 
27 e fallami di tutto ’] suo convente. 


tv. Convento ben mi fece di valire, 
é dondmi una gio’ per rimenbranza, 
30 ch’ii’ stesse allegramente; 
or la m’ a tolta per troppo savire. 


B,C,H auere 14. A,B pena C,H niullaltragioiane 15. A, B,H sono 
C son 16. A,B sono...fare C pacimento H su_ 17. A,B ne mai 
...auere A nonno...membranza C,H emai nonalento...rimenbr. 18. 
A chui H dixio 19. A,B Ispessamente C,H sto almorire UH dixio 
20. Amembr. C,H pensando... miso... oblianca 21. C piacente 22. 
A,B nonmi' 8B misfacto C,H Sencamesfactanomi 23. A,B fare C, 
H di far 24. A canosciente C,H poitantecaunoscente 25. A, B sono 
A nonnocomf. C,H sonoe 26. A,B nonmida_ C ne valimento no mi 
dea far p. H like C except de for dea 27. A tuto B tucto C fallomi di 
tucti lisuo conuenti 4H et fallommi di tuctiisuo conuenenti 28. A Konuento 
A,B ualere C Conuenti mi fece diritenere H Conuenenti mi fe diritenere 
29. A gioia...rimembr. B gioa C donao H donommi 30. C,H keo 
31. C,H Ormila C comolto s. H con moltas. A,B,C,H sauere 


-— 


36 CANZONI 


Dice che ’n altra parte 6 mia intendanza; 
33 € 10 so veracemente, 
non sente — nel mio core fallimento. 
Non 6 ’n talento — di far misleanza 
36 inver di voi per altra al mio vivente. 


v. Vivente donna non creo che partire 
potesse lo mio cor di sua possanza, 
39 non fosse si avenente, 
perch’ io lasciar volesse d’ubidire 
quella che pregio e belleze inavanza. 
42 Fammi stare sovente 
la mente — d’amoroso pensamento; 
non agio abento, — tanto ’1 cor mi lanza 
45 coli riguardi delli occhi ridente. 


32. A partte...ntendannza C ediceken ...asua H like C except antendanza 
33. A,B ed C,H cioso H ueracim. 34. A mi. C lomeo... tal f. 
H sento lo meo cor tal 35. A nonno A,B fare C,H ne talento di far 
C mesleanca 36. C,H ie la cangi per altra ... meo Stanza v lacking in C 
and H. 37. A, B credo 38. A, B core 4o. A, B lasciare A uollesse 
penta ye 42. A fami 8B fanmi star 43. A,B Ela A penssam. 
44. AY dtieliveehi .lo.. © cor (two letters erased after \o) B lo mio core 45. 


Editions: 11. Val., Nann., Baudo, But. Di bon cor l’amo e di pur leanza 
26. Né valimento non ha mia possanza. In ll. 10, 27, 32 Val., Nann., and Baudo 


CANZONI 37 


B. Less Propasty AUTHENTIC (XVI-XXII) 


XVI 
B 63, Bi 215, f. 240, BY, guint. v, [B®], B® f. 239%, [B® 25], B’ p. 77, J (B) 319, 
carta 128%, J*(B) 230, carta 317, J?(B) 271, carta 123, J4(B) 76, carta 50> (all under 
Giacomo). A 179 (Ser Guilglielmo Beroardi), C 38 (Piero de le Vigne). 
All., 439; Occhi, 314; Val., I, 260; Le M., 14;: Ant., 61; Nann., 111; Baudo 
130; Ros., 41 (all under Giacomo); Card., 24 (Pier delle Vigne); Fantuzzi, Notizie 
degli Scrittori Bolognesi, II, 149 (under Guglielmo Beroardi). 


Mss. A, B, C: A has cie for ce, gie for ge, Igli for gli, ngn for gn. B has c for 
ch (before a), -izo for -iso, -ozo for -oso, gl for gli (46, 47, 55). C has & for ch, ¢ 
for z,.ct for tt. 

B [Notaro Iacomo] (name added by a later hand). 


[Ms. A] 
1. Membrando cid ch’ Amore 
mi fa sofrire, e’ sento 

3 del marimento, — ond’ io sono al morire; 
ch’ amando isto in dolore, 
i-llutto e ’m pemsamento; 

6 dal mio tormento — nom posso partire. 
Ch’ a tutora ardo e ’ncendo, 
sospirando e piangendo; 

9g ch’ Amor mi fa languire 
per quella cui m’arendo, 

di me mercé cherendo, 
12 enon mi degna adire. 


mr. Son morto, ché m’incende 
lo fior, che ’m paradiso 
15 fue, cid m’ é aviso, — nata, ond’ io nom poso. 


follow B; also in 28, except for volere in Nann. and Baudo. In 5, 13, 14, 17, 10, 
24, 31, 34, 36 these three editions follow C. 


XVI. 1. B,C Menbrando C amor 2. B,C soffrire 3. B marri. und 
...son  C dismarri. undeoson 4. B,C sto 5. B in...epens. C in... 
einpianto 6. B,C del...non 7. A Chatura’ B tuttor C Katucto... 
eincendo 8. A e]lacking B sospirand C meo g.A amore to. A chui 
B di... chemarrendo C keo marrendo iz. A di merciede B merse 
C merce kirendo 12. B, C audire C no 13. A Sono mortto B cha 
14. A fiore B la...np. C la flor ken 15. B fu... me uizo... non 

fu... undeo non 


38 CANZONI 


Ch’a torto non discende 
inver me, poi m’a priso 
18 lo suo bel viso — dolce ed amoroso. 
Li suoi dolci sembianti, 
gioiosi ed avenanti, 
21 mi fanno tormentoso 
star sovra gli altri amanti, 
im sospiri ed im pianti, 
24 lo mio cor doloroso. 
mi. Condotto l’amor m’ave 
in doglie ed im pianto, 
27 di gioia afranto, — e sono miso im pene. 
Son rotto come nave, 
che pére per lo canto 
30 che fano tanto — dolze le serene. 
Lo marinaio s’obria, 
perde, e va per tal via, 
33. che perir lo comvene. 
Cosi é la morte mia, 
quella che m’ ae im ballia, 
36 che si dura si tene. 


Iv. Si fera nom pensai 
che fosse, né si dura, 
39 che la sua altura — inver me no scendesse 
la spera ch’io amai; 
né che la sua figura 
42 in tanta arsura — languir mi facesse, 


16. A tortto B, C discende B ch’} lacking C Kancor non + ae: ee 
uerme chema conquizo 18. A ello... bello B rizo dolse eamorozo bs 
dolce e 19. B Chesuoi dolsi senbianti C the line lacking 20. A dolci 
ed C thelinelacking 21. A miffanno  C the line lacking 22. A istare 
B istar... li amanti C the line lacking 23. B in... in C the line 
lacking 24. A core C the line lacking 25. A Kondotto lamore B 
Condutto C Conducto 26. B sospiri...in C dollie ein 27. B ma 
afranto emizon C gioi...in; e] lacking 28. A sono B como 30. 
B fanno ... dolse C fanno dolcemente 31. B_ sobbria C marinao 
32. A tale B che tene per C altra uia 33. A perire B,C conuene 
34. A mortte A,B @] lacking 35. B man bailia C ma inbailia 36. 
B mitene 37. B,C non 38. B fusse nessi 30. bes gy 40. B Labella 
41. A fighura B chella C né] lacking; ke ne at A languire 
B,C tant 43. A Massellake 8B n bailia co aa calls Eee . in bailia 


CANZONI 39 


quella che m’ a im baglia, 
in cui son sanza faglia 
45 tute belleze messe. 
Pit che stare in travaglia 
par che sofrir mi vaglia; 
48 o Dio! che mi vallesse! 


v. Novella canzon, prega 

quella, che senza intenza 

51 tutor s’agenza — di gentil costumi, 
for ch’ ella d’amar nega, 
ché -’llei regna valenza 

54 © conoscenza — pit ch’ arena im fiumi, 
ca doglia del meo lutto, 
anzi ch’eo arda in tutto, 

57 che ’l suo amor mi consumi; 
de l’amoroso frutto, 
anzi ch’ i’ sia distrutto, 

60 mi comforti ed alumi. 


44. A dichui sono B son tutta uia C in cui senca follia 45. B tutte 
bellesse C tucte 46. B star... trauagla C trauallia 47. A pare 
... sofrire B chel ... uagla C pur ke soffrir mi uallia 48. B, C odeo 
B chenmi C ualesse 49. A canzone priega B canson 50. B 
sensa C tenca 51. A tutora...gientili B tuttor saggiensa ... gienti c. 
C tuctor sagenca... costume 52. A forquella damore negha 53. B chen lei 
Co eae 54. A soferenza B channoscenza...in C cognoscencga 
2 gay iar ss. A Kalleid. B Che dogla...mio C Kedollia 
56. A tuto B ansichi C ardat. 57. A amore... comsuma 
ok. C ukel 509. B prima C eo 60. A comfortte...alume B con- 
fortiemallumi C confortie 


Editions: Val. and Nann. follow B. Baudo follows B, except Il. 18, 26 (A). 
Card. follows A, except l. 26, in sospiri (B), 54, conoscienza ‘B, C). 


40 CANZONI 


XVII 


C 28, O, P (Notar Iacomo); A 111 (Messer Tiberto Galliziani da Pisa); B 60 
(Messer Rugieri d’Amici). 

Val., I, 283; Baudo, 136 (both under Giacomo); But., 53 (Tiberto Galliziani). 

Mss.: A has cie for ce, gie for ge, Igli for gli, ngn for gn. B has -ansa, -ensa for 
-anza, -enza. Chas k for ch, ¢ for 2, ct for tt. 


[Ms. A] 
1. Gia lungiamente, Amore, 
sono stato in mia balia, 
3 enon curava d’altro segnoragio; 
or sono in tal tenore 
si che giamai nom poria 
6 partir, s} m’a distretto il mio coragio; 
e lo suo bel visagio, 
ch’é d’ogni bielta sagio, — m’imfiamao, 
g e tuti gli altri pensieri mi levao. 


m. Le sue belleze tante, 
che porta in viso e mantene, 
12 tutor s’adoblan; tant’ 4 di plagenza, 
mi fa pit fino amante, 
che gioi’ mi paiono le pene, 
I5 e pit d’amar mi cresce benvolenza 
di quella, co’ temenza 


XVII. 1, C lungam. 2. B,C bailia C son 3. A churaua_ B sig- 
noraggio C dalcor signoraco 4. A orssono ... tale B sonon ... tinore 
5. A sillacking Bonon_ C sikeo...non  6.A partire 8B sinma... 
coraggio C partire ... corago 7. A Ello... bello B uizaggio 8. B 
chedod ogne belta saggio minflanmao C ogne belta...minfiammao 9. B tutti 

penser. C gl 10. B suoibellesse 11. A portta B,C portan uiso 
B uizo 12. A tutora sadoblano ... anno B tuttor saddobla . . plagensa 
C tuctor ladobla . . piacenga = 13. ‘A First three letters of fino illegible B si 
fino; the si substituted fora picancelled 14. A gioia B parno C gio. 
par 15. A amare miscrescie beluolenza 3B eppur ... crescie benuogliensa e 
benuoglenca 16. A (An erasure fee the reading of three letters after qu) 
C Quella di cui temenca 17. A dire ... uolglienza B dogliensa ... uorria 
C -dollienga enonoardir 18. A nonne ‘8B, C ei 19. A Odeo Beo C 
O dio kio auesse 20, B,C eo 22.A forsse B,C carebbe 23. A ancora 


CANZONI 41 


di dir la mia doglienza; — e voria dire, 
18 perché giamai non e’ tanto d’ardire. 


mr. Deo! c’or avess’ io tanto 

d’ardimento, ch’ io contasse 

21 le mie pene a la mia donna valente! 
Forse averebe alquanto 
mercede, ancor non m’amasse, 

24 ca per sembianti poria star gaudente; 
e no-lle steria gente, 
poi ch’é di me temente, — s’io perisse, 

27 perch’ io voria ch’ ella il mio mal savisse. 


Iv. Oimé! che dich’ io folle! 
or gia m’acoglie ed inora, 
30 ancor nol faccia ad amorosa intesa. 
Per tanto non mi stolle 
lo sguardar che m’ asicura, 
33 ela speranza gia non m’é difesa 
di quella bene apresa; 
ché d’amar é si acesa — la mia mente, 
36 ch’ io no lo poria dir, né star tacente. 


v. Es’eo lo taccio, péro; 
e s’io lo dico, 6 dotanza; 
39 nom saccio s’a lei piace o sia spiacire; 
ond’ io merzé le chero, 
che no le torni a pesanza, 
42 perch’ io voria di morte guarentire; 


B merse...no C dimercede ... no 24. A stare B cha... senbianti 
porea ... ghaud. C ke... senbianti 25. B noli sterea C none strania 
26. A morisse B chio C dimente seo 27. A male’ B [per cheo] (si) 
uorrea chellalmeo A, C sauesse C e ben uorria ke lomeo male 28. B 
di[ch]o; io] lacking C iodico 29. B chasse maccogledinnora C ma collie e 
30. A ancora... facca B faccia damorozan teza C non facia lamorosa 
intenca 31. B tolle C no... tollie 32. A sguardare...asichura B mas- 
sigora C masigura 33. B difeza C no 34. B bena-preza 35. B 
acceza oC amare 36. A nollele...dire...stare B eo... porea C si 
keo non poria dire 37. A Esseo B Seio C Kaseo 38. B essio dico 
dottansa C eo... doctanga 39. A allei ... spiaciere B non... seli- 
piaccia ... spiagire C non so sele piace u... spiacere 40. B Vnde merse 
li C Peromerce 41. B noit.apezansa 42. A uolglio ... molte B 
uorrei C per keo uorria 


— 


42 CANZONI 


ch’é pial per suo servire, 
ché gia d’altro volire — non talento; 
45 perd s‘io moro, ell’a lo perdimento. 


XVII 


D 236, K ceria 71 (both under Notaro Giacomo da Lentino); A 37 (Piero de 
le Vigne); C 49 (Messer Jacopo Mostacci di Pisa) 
AIL, 431; Baudo, 125 (both under Giacomo); Val., I, 47; Wiese, 207 (both under 
Piero de le Vigne). 
Mss. A, C, D: A has cie for ce, gie for ge, Igli for gli, mgn for gn. C has ¢ for 
s, @ for #, and & for ch. The minor orthographic variants of D are not all given. 
D Notaro Giachomo da lentino. 
[Ms. A] 
1. Poi tanta caonoscenza 
€ compimento di tuto bellore, 
3 sanza mancare, Natura Ia dato, 
non é mai increscenza 
penare lungiamente per suo amore; 
6 quant’ io pili peno, pil sard *nalzato. 
In si gran sicuranza Amor m’a meso 
i’ lo suo gran valore, 
Q acuison tuto dato, 
ed infiamato — di si buono amore, 
com’ albero che d’ellera @ sorpreso. 


aa, & Xe C Eee 44. A4,C uolere B,C nono 45. B chasseo 
mi eo ... ella aralpentimento 

Bitlis: «. ¢ Val. confuses the line division; Cosi m’ave dist. 11. Baudo 
che poria...etene But. ¢ mante 12. Val Vaddobla Baudo tant’ an 


But cdt 26. morisse 31. Val tolle Val, Baudo d’amore 
Baudo non le Bt ae Baudo Che sio...perd 38. 
lacking 40. Val Perd m voglio Val, Baudo E 

But. chtpii 44. Val, Baudo asstotd But. che gid... n’6tal. 45. Val 

Ca Baudo avra il pentimento 
XVITL +. C caunoscenca 2. C conpimento ... tucte Da comp. 

i D gi 4A Nonne C nomi uen D me uenne 
su 6. C quanto piu penoe piu seroinalcato D quanto 











<I" Ee 


+ lel Hh 


? 


un ago pungesse. 
mic’ 
venire, 


to 


mio quan 
paremi ben fare. 
in vio, 


mi 
openione; 
lo 


— m’ave a meritare; 


tv. Sialtai 


morire, € 
morire 


mio penare, 


aviso, 
Parve che mi 


si come il ferro fa la calamita, 
Amor 


14 cosi, m’é 
Di cd mi dono gran comfortamento 


In Amor 6 dato tuto mio pensare, 
i sua suggezione; 


subitamente core, corpo e vita, 
17. ch’io non son mi 
20 ch’ io sono inamorato 
ed alterato — di mia 
ch’ io vo al 
mm. Son menato al 
per forza, e i’ medesimo 
25 ed esser la mia morte, e non vedere. 
Non 6 tanto valire 
ch’ io possa 
28 cosi m’a tolto Amore ogne podere. 
contra lo 
31 che sono da lei amato; 
Amor m’ ave inorato da 


{1 
jae 
‘ 


54 a tie i 
: aoes dasdaecat ta: 


m. Lo veder 





44 CANZONI 


Non 6 giucato in faglia, 
ché ben sovente vedemmo avenire 

39 amar fortemente, e no essere amato, 
poi ’n ella é tanto di canoscimento 
d’amore, che la ’ntenza 

42 e piu mi fa allegrare, 
come dé fare — chi si ben conenza, 
quant’ a pit de le donne insegnamento. 


XIX 


D 237, D' 33 (both Notaro Giacomo da Lentino); A 28 (Messer Rinaldo 
d’Aquino); C 31 (Misser Rugieri d’Amici). 

All., 434; Occhi, 310; Baudo, 127 (all under Giacomo); Val., I, 225; Ant., 103; 
Le M., 12; Nann., 94; Ulrich, 53; Wiese, 204 (under Rinaldo). 


Mss.: A has cie for ce, gie for ge, /gli for gli, ngn for gn. C has ¢ for 2, c# for it, 
k for ch, ka for ca (1. 20). D has /gli for gli, ngn for gn, ¢ for z, sometimes ct for 
tt, and cha, cho for ca, co. All the minor orthographic variants of D are not given. 


[Ms. A] 
I. In un gravoso affanno 
ben m’ a gitato Amore, 
e nol mi tegno a danno 
amare si alto fiore. 
5 Ma, ch’ i’ non sono amato, 
Amor fece pecato, 
che ’n tal parte donao mi’ ’ntendimento. 
Conforto mia speranza 


37- A jnonno C Non giocai...fallenca D Nonma...afalgla 38. A 
bene  C ben] Jacking; uedomoadouenire D comesouente veiome 39. A, 
C,D amare A nonn C noneamato D noe _ 40. C Poiella tanto... 
caun. D Maillei 41. C amor...latendanca Ded 42. C ralegrare 
D perme... rallegrare C,D ellacking 43. A beneinconenza C comenca 
D sicome...chomincia 44. D chomea piu 


Editions: All. is based on D. 2. All., Val., Baudoacomp.... tanto §8. All. 
El suo g. Val. Dello suo g. Baudo E lo suo g. 14. All., Val., Baudo 
Cosi parmi ch ... sottraesse  D’Anc. C. c’Amor 18. Val., Baudo mess’ho 
D’Anc. C., Wiese In... dato ho 20. Baudo = D 25. Val. = D 26, 29 
Val, Baudo= D 31. Val=D 34. Val. Asialta 37. Val. =D _ 30. 
Val. essere] lacking D’Anc. C., Baudo Amare forte e non essere amato 40. 
Val, Baudo= D 42. Val. Purmifa Casini (Ann.), Baudo = D. 


CANZONI 45 


pensando che, s’avanza, . 
10 buono sofrente aspetta conpimento, 


ut. Per cid non mi dispero 

d’amare si altamente; 
adesso mercé chero, 
servendo umilemente. 

15 C’ a povero omo avene 
ca per ventura a bene, 
che monta ed ave assai di valimento. 
Perd non mi scoragio, 
ma tutor serviragio 

20 a quella c’ave tuto ‘nsegnamento. 


m. Dat’ 6 la mia ’ntendanza, 

giamai non si rimove, 
e servo in gra’ leanza 
che ’n essa merzé trove. 

25 Solo questo mi faccia, 
s’ i’ ’amo no le spiaccia, 
e tengolomi in gran consolamento; 
com’ omo ¢c’ a disascio 
aspetta d’avere ascio, 

30 poco di bene piglia per talento. 


Iv. Tanto m’este a plasere - 
d’aver sua segnoria, 
che non disidro avere 
altra donna che sia. 


XIX. 2.C,D gittato 3.C nomi 4.C,D amar...alta 5. A,C,D 
madicio C keo D chi] lacking 6. A amore C,D peccato 7. A tale 
partte C meoint. D donomioint. 8. A confortto D mio 10. C 
bon D buon’ C,D sofferente D comp. 11. A Perccio C no 12. 
A amore C,D amar 13. C,D merce 15. A ommo C pouer_ 16. C, 
D ca] lacking; aventura 17. C first e then changed intoed 18. C,D Percio 
C no... discoragio 19. A tutora C tuctor D tuttoraseruiraggio 20. 
C, D tuttoinsegn. 21. C intendanca OD intenca 22. D giamma 23. C 
gran D in allegranca 24. C in D chellei 25. A facca C facia 
26. A ammo...spiacca C eo... spiacia D dispiaccia 27. C,D tegno. 
Dngran 28 A ommo C the line lacking D uomo...disagio 29. C 
the line lacking D aueragio 30. A pietadibene C the line lacking 31. 
C piacere D meinplagere 32. A,C dauere CC signoria 33. A disi- 
dero CC disedero; auere] /acking D cheo ... auer. 


-_ 


46 CANZONI 


35 Come quello che crede 
salvarsi per sua fede, 
per sua lege venire in salvamento, 
a meve cosi pare: 
non credo mai scampare 
40 sed ell’ a me non da consolamento. 


XX 

B 61, B’ p. 74» (Notar Jacomo); A 35 (Notaio Arigo Testa da Lentino); C 62 
(Arrigus Divitis). 

All., 417; Crescim., III, 38; Val., I, 178; Ant., 54; Nann., 70; Mon., 63; 
Zenatti, A. Testa, p. 87; Baudo, 139; Torr. Man., I, 34 (all under Arrigo Testa); 
Palermo, J Mss. pal., II, 100 (Arrigo di Vitis). 

Mss.: A has cie for ce, gie for ge, /gli for gli, ngn for gn. B has gl for gli, -nsa 
for -nza, -0z0 for -oso, -iza for -isa. C has ¢ for 2, ct for tt, k for ch. 


[Ms. A] 
1. Vostra orgogliosa cera, 
e la fera sembianza, 
mi tra’ di fin amanza 
4 e metemi in erore. 
Fami tener manera 
d’omo ch’ é ’n disperanza, 
che non a in sé menbranza 
8 d’avere alcun valore. 
In cid blasimo Amore 
che non vi da misura, 
vedendo voi si dura 
12 ver naturale usanza. 


35- D quelli 36. A saluarssi 37. A insutalento D legge...a 38. C 
meui D mene 39. C campare D credendo 40. C selle D dona 

Nore. — In D this canzone ended with a commiato of 13 lines, beginning: Mia 
changone di gran giecchimento, and of different metrical form. It really belongs to 
Chiaro Davanzati’s canzone, Assai mera posato (A 202). A\ll., Val., Nann., and 
Baudo add it to In un gravoso affanno without comment. 

Editions: 9. Val. siav. 12. All., Val., Nann., Baudo d’amar 13. D’Anc. 
C. Adesso 21. Nann. Dacui D’Anc. C. Daciola All., Occhiintenza 28. 
The other editions ’'& 29. Val. aspetto Nann. E spera 37. All., Occhi, Nann. 
asalvamento 38. Occhi Ame non 3g. All., Occhi, Nann. Non credendo 


XX. 1. B,C Uostr CC argoglosaciera 2. B senbiansa C sembranca 
3. B,C trae C fina 4. B mettemin B,C errore 5. B Fanmi A,B 


eee EEE SS  — 


CANZONI 47 


Ben passa costumanza, 
ed é quasi fuor d’uso 
l’ afar vostro noioso 

16 per leveza di core. 


tm. Del vostro cor certanza 

ben 6 veduto in parte; 
c’assai poco si parte 

20 vista da pensamento, 
se non fosse a fallanza 
proponimento d’arte, 
che dimostrasse sparte 

24 altro c’ave in talento. 
Ma lo fin piacimento, 
da cui l’amor discende, 
solo vista lo prende, 

28 edi’ cor lo nodrisce, 
si che dentro s’acrisce, 
formando sua manera; 
poi mette fuor sua spera, 

32 e fanne mostramento. 


m. Perd, madonna mia, 
nom po modo passare, 
né stasgione ubriare, 

36 c’ogni cosa 4 suo loco. 
Convien ch’ello pur sia, 
ché manifesto pare, 

e tuto l’apostare 
40 ver la natura é poco. 


tenere B mainera 6. A omo 7. A chele; nona_ B non mostra sen- 
biansa 8. A,C alchuno o9.C Ein 8B,C biasmo' 8B l’amore_ 10. B 
mizora C nomida _ 411. 8B uisidora 12. B uzansa 14. A fuori B 
quazifordozo C for 15. A lafare B laffar 16. A perliuezi B leuessa 
17. A core 18. C beno (not bene as in Bart.-Cas.) 19. A partte 8B ch’ 
...pogho C pogo 20.A di 21. A allacking B fusse C no 22. 
A omponimentodartte 23. A imparte C exparte 24. B ntal. 25.A 
fino 26. A dichuilamore 27. C sola 28. A icore B encore... notrisce 
C ein 29. A,C acrescie C s’|lacking 30. B mainera 31. A fuori suo 
B for 32. A effanne; first had penssamento, then cancelled and mostramento 
substituted. B,C fande 34. A mondo B,C non 35. B stagionobbriare 
C stasione obliare 36. B,C c’|]lacking B ogna...su  C ogne... ins. 
37- A conuiene C conuen 39. B tutto 40. A é] lacking B uersol’amore 


— 


48 CANZONI 


Vedete pur lo foco 

che, fin che sente legna, 

inflama, e non si spegna, 
44 né po stare nascoso. 

Cosi 4 l’Amore in uso 

per fermo segnoragio, 

che cui tien per coragio, 
48 convien che mostri gioco. 


Iv. Non mi mostrate gioco 

né gaio semblamento 
d’alcuno bon talento, 

52 ond’ avesse allegranza; 
ma mi metete i-lloco, 
la ’nd’ io gran noia sento. 
Ché fate fingimento 

56 di verace amistanza; 
e cid é gran fallanza 
che cosi mi tradite. 
Poi che tanto savite, 

60 trovate alcuna guisa 
che non siate riprisa 
di si gran fallimento; 
di vista o pensamento 

64 agiate in cor fermanza. 


v. Da me fermanza avete, 
ch’io so’ in vostra tenuta, 
poi lo meo cor non muta 


41. A Vedendo perlo 42. A chefin] jnfin 43. A nonnispengna 8B in- 
flamma CC infidéma 45. B Cosilamore cozo OC cosilamore emiso 46. B 
signoraggio C signoragio 47. A chui tiene perussagio B che conuen... 
coraggio C cuitem 48. A conuiene B,C conuen 49. B,C No _ 50. 
B senblam. C sembram. 51. A alchunobono’ 52. B undauess C ondio 
53- B metteteinloco’ C tenete inl. 54. B,C lallacking B ondio C 
undio 55. A fateof. B,C faiteinfing. 57. C Ecie 59. A sauete C 
sapete 60. A alchuna 61. A, C ripresa B ripriza 62. A di uista 
openssam. 63. A dalchuno bono talento 8B uista inp. 64. A core B 
aggiate C fermeca 65. B,C Di  B fermessa C fermeca 66. A sono 
uostra B iso C eosonoin 67. A core B peromeo C pero mio... 
no 68. A fare uostro omagio 8B -aggio C fare 69. B Dunque C 
Donqua A sauoi A,C siete 71. B straina C strania 72. A auere 
B dannaggio C damagio 73. B -aggio C @é]lacking 74. A caccate le 


CANZONI 49 


68 di far leale omagio. 
Dunqua se voi mi sete 
di si fera paruta, 
ben é strana partuta 
72 per bene aver danagio. 
Poi savete ch’é oltragio, 
cacciate la fereze, 
ché no é presgio ’n alteze 
76 contra umiltate usare. 
C’omo di grand’ affare 
perde lo suo savere, 
ché lo ’nganna volere 
80 per soverchio coragio. 


XXII 


D 235 (Notaro Giachomo da Lentino); D! 32 (Notaro Jacomo da Tolentino); 
A 40 and C 11 (both Piero de le Vigne); B 123 (Notaro Stefano di Pronto di Mes- 
sina), [B® 79]. 

All., 429; Occhi, 308; Baudo, 122 (Giacomo); Serassi, 10; Val., I, 44; But., 1 
(all three Piero delle Vigne). 


Mss.: In C stanzas tv and v are lacking; in D stanza v. A has cie for ce, lgli 
for gli, ngn for gn. __B has ct for é# (and for ¢ in tuto), ngn for gn. C has ¢ for z, 
ct for #, and k for ch. The minor orthographic variants of D are not given. 


[Ms. A] 
1. Amor, da cui move tutora e vene 
presgio e largheza e tuta benenanza, 


B cangiate la feressa C at first cagiate, then a stroke in much darker ink put 
over the a; laferega 75. A nonne...nealteze B nonpregienealtessa C ke 
ne presio 76. A uersso B umile uzare oC umiltade 77. B,C grande 
79. Achello C calui ing. 80. B,C soperchio B coraggio 

Editions: 7. Zen., Baudo enon’ 4. Zen., Baudo Eincid 16. D’Anc., C. 
per li vezi 21. Mon. Se non forse a 23. Mon., Baudoin parte 27. Zen, 
Baudo sola 36. Mon., Torr. c’] lacking 37. All., Val., Nann., Baudo ella 
47. Val., Nann., Baudo vassaggio 52. Zen. ond’ io 53- Val., Nann., Zen., 
Baudo tenete 55. Val., Nann., D’Anc. C., Mon., Zen., Baudo, Torr. infingi- 
mento 65. Mon., Torr. Dime 74. Mon. cangiate 75. Val., Nann., Baudo 
pregioaltezza Zen. ’nalteza Torr. né alteza 


XXI. 1. A Amore ... chui; the last two letters of the line arelacking B Amore 
...uen C,D cuisi D evene]lacking 2. B pregio C preso... tucta 
beninanca OD _ beneuolenga 


— 


50 CANZONI 


ven nel omo valente ed insegnato, 

4 che nom poria divisare lo bene 
che ne nasce, ed avene — a chi a leanza; 
ond’ io ne sono im parte tralasciato. 
Ma si dird com’ ello m’a locato, 

8 ed onorato pit d’altr’ amadore 
per poco di servire; 
ca s’io voglio ver dire, 
di tale guisa m’ave fatto onore, 

12 casé A slocato, e miso m’a ’n suo stato. 


u. Stato si rico ed alto nom fue dato 
di si poco servire, al mio parvente; 
ond’ io mi tegno ben aventuroso, 

16 e veio ben c’ Amor m’a pit ’norato 
intra gli altri amadori certamente; 
ond’ io m’ alegro e vivo pit gioioso; 
ché m’ a donato a quella c’a per uso 

20 belleze ed adorneze e piacimento; 
aunore e canoscenza 
i-llei, senza partenza, 
fanno sogiorno, ed Alle al suo talento; 

24 senno la guida, e ’] fin presgio amoroso. 


m1. Presgio ed aunore adesa lei avanza, 
ed é si amisurata di gran guisa 
d’avere tuto bene im provedenza 
28 ver me, c’ Amor m’A miso in sua possanza. 


3. A,B uene CC euendomo...einsegnato D euend 4.B,C non C 
Kio. D Nonsiporia 5. A auiene A,B achilalocking B nasce C 
kende nasce euene D euene 6.8B,C,D in’ C undeo... tralassiato 7. 
C Mano...come amor D a allochato 8. B,C altro C ehonorato... 
altro 10. A,B uero’ B uoglio C keseouogl D esseo_ 11. B facto 
C,D sigrang... C factomauehonore 12. C ke...in D chesesl. 
...Mmesso...su 13. A,B Istato 8B ricco...non_ C riccho altrui non fui 
D si] lacking; adaltruinon 14. C pogo...meo OD persi...parere_ 15. 
C undeo...tegnobono D land eomen... bene auenturoso 16. A, B bene 
... amore C uegio ... honorato D ueggio ... honorato piu 17. B ili 
C infragl D infra 18. B allegro C undeo sono allegro 19. A donnato 
Buzo C,D keper’ 20. C firstechangedtoed 21. A,B edaunore C 
honoree caun. 23. C fa...estannoas. D ed... talento] lacking 24. A, 
B fino__—iB  pregio C efinpresio D_ ’Ij lacking 25. B pregio A,B 
edauanza C,D Presioeualoreadesso D auancgi 26. A, B e dismisurata 
C esiadismisura 27. C intuctibenip.... D intuttobenep.... 28. A 


CANZONI 51 


La caonoscente senza lung’ atesa 

mi meritao de la sua benvoglienza; 

c’assai val meglio poco di ben, senza 
32  briga ed inoia ed affanno aquistato, 

che ’| rico per ragione, 

poi che passa stasgione, 

e dell’ om rico deve esser laudato; 
36 perdi’ non 6 fatto penitenza. 


Iv. Penitenza non agio fatta neiente; 

al mio parvente — poco agio servito; 
ma tutavia seragio servitore 

40 di tuto, c’ Amor m’ a fatto gaudente 
de l’ avenente — per cui vado ardito, 
e tegno me sovr’ ogn’ altro amatore. 
E non vorei essere lo segnore 

44 di tuto il mondo, per aver perdita 
la sua benivoglienza, 
ch’ i’ agio sanza temenza, 
che mi mantene ’n amorosa vita, 

48 si che ne sta contento lo mio core. 


v. Lo mio core tenesi contento 
del grande abento — ove Amore m’a miso; 
mille graze n’ agia a ciascun’ ore, 
52 c’agio tuto cid che m’é a talento 
da l’amorosa donna col chiar viso, 
che mi dond comforto con valore. 


dillei A,B amore B dilei... mizo...possansa C eamore omiso ... spe- 
ranca OD che nuerdi me attutta speranca 29. B cannoscente C caunoscente 
... intesa D canoscenga...intesa 30. A beneuol. C benuoglenca 31. 
A,B uale... bene B mellio C Pero ual meglo pogo D Pero... un pocho 

bene "32. B afanno C enojaeafanno 33. A corico B co ricco 
C conriccho... rasione ‘D chalriccho 34. B stagione C stasione 35. 
A,B omo. essere B ricco C malomeoriccode  D ma lo meo ricchore 
de 36. A nonno B pero] lacking C kenondo facto penetenca D che 
non 37-A nonn D facto 38. B pogo OD epuraggio 39. D e tut. 
B,D seruidore 40. A,B tuto cioc. 41. A chui B dell D percui chanto 
e son di gioia guaruto 42. A, B piu daltro amante deo auere fino core D ama- 
968 43- B uorrei OD _ uorria esser signore 44. A monddo A,B auere 

D partita 45- B_ benuollienza “3 “a io D ch aio senca 47. B in 
D me...in 48. D enfin che fie.. so. A abente 51. A, B agia 
a] a a lacking A ciaschun 53. ‘A, I B chiaro 54. A comfortto B 
conf. 


52 CANZONI 


E nom si poria pensare per core 
56 com’ 4 tuta belleze a compimento. 
Dunque eo nom falleragio, 
se no ’nde parleragio, 
ché lingua nom pd avere im parlamento 
60 di dire pit che ’] core sia pensatore. 


XXII 


[A 103, anon. In the Ms. an old annotator wrote over it ‘ Jacopo ’.] 
Published in D’Anc. C. only. 


Ms. has cie for ce, gie for ge, lgli for gli, ngn for gn. 
1. Cosi afino ad amarvi, 

com’ auro a la fornace, 

3 c’afina pur ardendo. 
Senza veder, guardarvi, 
donna, gia non vi piace 

6 lo mio affannar piangendo. 
Bagnandomi lo viso, 
pianger mi torna riso 

9 ed ira mi discorda; 
la dolz’ agua m’acorda, 
piange ridendo. 


tm. Molto mi ricomforta 
che credo ca vi doglia 
14 che’! geloso, 4 non guare, 
io vidi far la scorta, 
che del morir m’ avoglia. 
17 Lasso! che deo fare ? 
C’Amor mi dona foco, 
dolor mi reca in gioco, 
20 esollazo che more, 
vivendo lo mi core 
im ben amare. 
55- B non 56. A, B tute B_ conpimento 57. B non A, B fallo 
58. A,B senonde A parllo 8B parlo 59. B non A,B pote’ B in 
Editions: All. and Occhi lack st. v. 26. D’Anc. C., Baudo é dismisurata 
28. D’Anc. C., Baudo Di lei, ch’Amor 29. D’Anc. C. resa 32. D’Anc. C. 


e di noia 33. All., Occhi Chal ricco Val., Baudo Che un ricco D’Anc. C. 
com’r. 50. D’Anc. C. abente 57) 53. D’Anc. C., Val., Baudo follow the Mss. 


CANZONI 


ur. Amato son io forte 


25 


28 


31 


d’amor sanza podire; 
fara sua spotenza 

che potera pit forte. 
Lingua nom poria dire 
per mia penitenza: 
Dolze amore 6 amata; 
lasso! perché l’é data ? 
Mia speranza m’aluma, 
disiare mi comsuma, 
fisar m’ agenza. 


Iv. Umilmente, lamento, 


36 


39 


42 


va e sali a castello 

ove son le belleze. 

Dille c’ 6 pemsamento 
potere essere ausgello, 
per veder suoe alteze. 
Andro sanza richiamo 

a lei che tegno e bramo, 
com’ astore a pernice. 
Caldo e fredo, mi dice, 
fare conteze. 


v. Per aver gioia intera, 


47 


5° 


53 


XXII. 1. Kosi 4. 
gieloso alanguire Is. 


23. fortte 24. amore .. 


del valor non temere, 
ad onta del follagio 

del sol pigliar mi spera; 
per forza il vo’ tenere, 
non compie suo viagio, 
c’ afini nostro gioco. 
Con voglia amorta foco, 
amor pur acendendo, 


nom pianger, vien ridendo, 


e sia sagio. 


uedere guardaui 6. affannare 
fare ... scortta 16. morire 
. podere 26. fortte 30. Ile 


53 


12. ricomfortta 14. 


34. Umilemente 36. sono 39. uedere 41. allei 45. auere 46. SSiastore 
amortta 53. amore 54. piangiere uiene 


48. sole pilgliare 52. 


D’Anc. C. 14. alanguire 23. sono 33. Fisare 


FRAGMENTS OF CANZONI 


The two fragments below appear in the table to Ms. A, in the part containing 
the group of Giacomo’s canzoni. The two canzoni were in the part of the codex 
that is lost. 


I [A 1o] 
Nom so se in gioia mi sia 
d’amore la mia intendanza 
inverlla . . . 


II [A 1s] 
Amore paura m’incalca 
in manti lochi aventurosi 


DISCORDO 


A 5, B 110, [B® 67], B’ p. 144>; all under Giacomo. 

All., 468; Crescim., I, 68; Val., I, 265; Mon., 47; Baudo, 111. 

(N.B. — Below, a * indicates the place where both Mss. begin a new group of 
lines; a ¢ where A does alone.) 


Mss.: A has cie for ce, gie for ge, /gli for gli, ngn for gn. B has sometimes ngn 
for gn. 


[Ms. A] 

Dal core mi vene - @non viveria 
che gli ochi mi tene este tormente, 
rosata. 25* a pur penare 
Spesso m’ adivene e disiare, 

5 che la cera 6 bene giamai non fare 
bagnata, mia diletanza. 
quando mi sovene La rimembranza 
di mia bona spene, 30 di voi, alente cosa, 
c’ 6 data gli ochi m’ arosa 

ro} in voi, amorosa, d’ un’ agua d’ amore. 
bonaventurosa. Or potess’ eo, 
Perd se m’ amate, © amore meo, 
gia non v’ inganate 35 come romeo, 
neiente. venire ascoso 

15 Ca pur aspetando, e disioso, 
in voi ’maginando con voi mi vedisse, 
Pamor che ’n voi agio, non mi partisse 
mi stringe ’] coragio, 40 dal vostro dolzore! 
avenente. Dal vostro lato 

20 Cas’ io non temesse, alungato, 
c’ a voi dispiacesse, be-Il’ 6 provato, 
ben m’ aucideria, mal é che non salda. 


2. B occhi 1o. B amorsa 11. B benauen. 13. B ingannate 17. A. 
the line lacking _B lamor cagio in uoi 18. A lo core midistringie B the 
same as A except cor 20. A,B cassio 24. B esti tormenti 25. A,B ca- 
pur 29. B rimenbransa jo. B aulente 32. B aigua 33. A,B ora 34. A 
or 38. A,B uedesse 42. B allungato 43. B beno 44. A 1 of salda not 
legible 

55 


56 DISCORDO 
45 Tristano ed Isalda 
non amar si forte. 
Ben mi pare morte 
non vedervi, fiore, 
* vostro valore, 80 


c’adorna ed invia 
donne e donzelli. 
Li avisatore 
di voi, donna mia, 
son gli ochi belli. 
Pensa’ tutore, 
quando vi vedia 
con gio’ novelli: 

* “ Hoi tu, meo core, 


50 


55 


perché non ti more ? go pur di voi, madonna. 
60 Rispondi: che fai?” me ; 
‘ : Si mi sdura 
“ Perché doglio 
. scura 
cosi ? fi 
Non ti rispondo, ey cawat te 
ma ben ti confondo, a” 
65 se tosto non vai 99 es 
5 Z ‘ Gli ochi avere 
la ove voglio 
esp e vedere, 
erie e volere 
Ca la fresca cera Be si de 
tempest 6 aes mai altro non disio; 
; ‘ jae too triece sciolte, 
70 in pensiero m’ai 
: ; . ma volte, 
misso, e ’n cordoglio 
+ ti? ma dolte, 
te a né bruna né bianca. 
* Cosi, bella, Gioia complita, 
si favella 105 norita, 
75 lo mi’ core con meco. m invita; 
45. B isolda 46. A nofi...fortte A,B amai 47. A mortte 51. A, 
B donzelle 52. A, B lauisatura 54. A, B sono 55. A penssat. B 
tutora 56. B uidea 57. A econ gioie nouelle 8B gioi 58. A Boitu 
61.A,Bdoli 64. A bene; ti] uncertain whether ciorti 66. A uoli B uollio 
67. B con 68. B frescha 69. B_tenpesta 71. B miso ... cordollio 
72. B te 75. A mecd 76. B null 77. B ragiona 78. A parila; 
dice] uncertain whether dicen or dicon 8B dicon 79. A,B churale 85. A, 
B cassio A ueglio B uellio 88. B scietto o1. B me dura’ 92,93. A 


schura, fighura 94. A eo B diquantonqueo 


Di nul’ altra persona 
non mi rasgiona, 

né parla, né dice. 

Si curale 

e naturale 

amore di voi mi piace, 
c’ogni vista, 

mi par trista, 

c’altra donna face. 


857 CA s’io viglio, 


o sonno piglio, 

lo mio core non insonna, 
se non scetto, 

si m’ a stretto, 


gs. A first ueo then ueio B 


DISCORDO 57 


voi siete pit fina. * Ma sempre mai non sento 

S’io faccio vostro comandamento; 

sollaccio, 140 enon 6 confortamento 
110 ch’ io piaccio, del vostro avenimento. 

lo vostro amore mi mina Ch’ i’ mi sto, e non canto, 

dotrina si c’ a voi piaccia tanto; 

e benvolenza. e mandovi infratanto 

La vostra benvolenza 145  saluti, e dolze pianto. 
II5 mi dona canoscenza Piango per usagio; 

di servire a chiacenza giamai no rideragio 

quella che pil m’agenza, _ mentre non vederagio 

e agio ritenenza lo vostro bello visagio. 

per la troppa sovenenza. 150 Rasgione agio, 

ed altro non faragio 


120 *E non mi porta 


né poragio; 
ape ecrg apes tal é lo mi’ coragio. 


e tira ad ogne frino, +C’ altre parole 
e non corre; P 
bh aaa 155 non vole; 
ma dole 
eo ere ae st de li parlamenti 
ee de le genti. 
westtes } Non consenti 
<i OTR q 160 néche parli, né che dolenti. 
Ape amy Ed agio veduta 
130 ch’io morisse; wee Lesclare 
" OMe la mia tenuta 
WAT de lo meo dolce penzare. 
e non discredo, 
che la mia venuta 165 *Si como 
135 dea placere, nui, 
ed alegrere che somo 
de la veduta. d’un core 


ueo; ne] lacking 96. B congli occhi 99. A eloro non too. B treccie 
104. B conplita 106. B nunuita 108. B chesio 111. B nostro... mena 
114. B benuelenza 115. B cannoscenza 116. A achia senza’ 8B piagienz 
(the final a lacking. Casini has incorrectly piagienza) 118. A ritenienza B 
ritemenza (Casini has ritenenza) 120, 121. A portta 122. A, B freno 
125. B amor 126. A benjJle 3B uorria 127. A nonll_ B lasserea 129. 
A, B sapesse 132. B tucto 134. A chella 136. A,B alegrare 137. B della 
138. B_ senpre 140. A nonno 143. A piacca 147. B non 150. B 
ragione 155. B no 158. A da___ B _lagente ‘159. B_ consente 160. 
A parlli 164. B dolcie 166. A,B noi 168. A,B uno 


— 


58 DISCORDO 


dui; 195 _ tant’ agio 

170 ed ore di mala noia; 
plui la mia vita é croia 
ch’ancore sanza voi vedendo. 
non fui; Cantando ai! vo, 

di vui, 200 in gioia or vivo 

175 bel viso, pur pensivo; 
son priso e tuta gente schivo, 

e conquiso, si ch’ io vo sfugendo, 
che fra dormentare pur cherendo 
mi fa levare, 205 ond’ io m’asconda. 

180 e intrare Onde lo core m’abonda, 
in si gran foco e gli ochi fuori gronda, 
ca per poco si dolcemente fonda, 
non m’ aucido come lo fino or che fonda. 
de lo strido 210 Ora mi risponda, 

185 ch’ io ne gitto, e mandatemi a dire. 
ch’io non vegna la ove siete; voi che martire 
rimenbrando, per me soferite, 
bella, quando ben vi doverite 
con voi mi vedea 215 infra lo core dolire 

190 sollazando, de’ mie’ martire, 
ed istando se vi sovenite 
in gioia, si come fare solea. come site 

lontana, 
* Per quant’ agio 220 sovrana 
di gioia, de lo core prosimana. 


170. A,B or 172. A,B ched A anchera’ B anchora 174. A,B uoi 
175. A bell 176. A,B sono. B preso- 179. A falleuare 190. B sola- 
zando 202. A,B iscrida B tucta 203. B_ sichiuo fugiendo 207. B 
occhi 208. B dolciem. 209. A,B oro B cheffonda 210. B ma 211. A 
madate 212. A,B martiri 213. B sofferite 214. A douereste B 
doureste 215. B inuerlo 218. A,B sete 221. B prossimana 


Editions: 17, 18. All, D’Anc. C., Baudo follow A; Val., Mon. follow B 
51. All. donnaedoncella Val., D’Anc. C., Baudo, Mon. donzelle 52. All. La 
vita...ora Val., Baudo L’avvisatore Mon. l’avisatura 61. All the editions 
have doli 75. D’Anc. C. Lo mi che comento too. All., Val., Baudo Treccia 
sciolta tor. All. line lacking Val., Baudo Ma volta to2. All. Ma dolore 
Val., Baudo Ma colta 172-73. D’Anc. C., Mon. ched anch’era non fui 202. All, 
Baudo sgrida D’Anc. C., Mon. iscrida 


SONNETS 


TENZONE I (SONNETS I-11) 
Jacopo Mostacct, PIER DELLA VicNA, Notar GIACOMO 


I: Jacopo Mostacct 
F 94 (Jacopo mostagco). 
All., 399; Crescim., III, 108; Val., II, 208; Villar., III, 341; Mon., 59; Ces., 
238; Torr. Man. I, 32; Baudo, 44; Card., 245. 


Solicitando un poco meo savere, 
e con lui voglendomi diletare, 
un dubio che mi misi ad avere, 
4 a vui lo mando per determinare. 
Ogn’ omo dice ch’ Amor 4a podere, 
e gli coragi distringe ad amare; 
ma eo no lo voglio consentere, 
8 perd ch’ Amore no parse ni pare. 
Ben trova l’om una amorosa etate, 
la quale par che nasca di placere, 
e cid vole dire om che sia amore. 
12 Eo no li saccio altra qualitate; 
ma cid che é, da vui lo voglio odere; 
perd ve ne faccio sentenzatore. 


2. cumluy...deletare 3. me 4. uuy 5. onomodice 6. corazi dis- 
trenze 7. uoglo ro. nassa de placere Ir. zo uol ... hom I2. sacco 
13. ¢O... uuy uoglo odere 14. faco sentencatore 


The recent editions present only orthographic and phonetic variants. 


60 SONNETS 


II: PETRO DA LA VIGNA 
F 95 (Petro da lauigna). 
All, 503; Crescim., III, 16; Occhi, 325; Val., I, 53; Villar., I, 275; Ant., 21; 
Guadagnini, Sonetto di P. d. V., Bassano, 1889; Mon., 59; Ces., 239; Baudo, 45; 
Torr., Man. I, 33;Card., 245. 


Perd ch’ Amore no si po vedere, 
e no si trata corporalemente, 
manti ne son di si fole sapere 
4 che credono ch’ Amore sia niente. 
Ma po’ ch’ Amore si face sentere 
dentro dal cor signoregiar la gente, 
molto magiore presio dé avere 
8 che se ’] vedessen visibilemente. 
Per la vertute de la calamita, 
como lo ferro atrae no si vede, 
ma si lo tira signotevolmente; 
12 e questa cosa a credere m’invita 
ch’ Amore sia; e dami grande fede, 
che tutor sia creduto fra la gente. 


1. se 2. The first e of corporalemente was added by Nic. de’ R. 3. de 
4. amor 5. face 6. signorezarlazente 7. mazore 8. ue si bellemente 
Io. atra...se 11. -ra of tira added by Nic. de’ R.; signoriuele mente, the second e 
added by Nic. de’ R. Iz. menuita 13. dame 14. cente 


Editions: Ces. gives the probable Neapolitan forms. 8. Val. vedesse Mon. 
vedessen 0é@ si bellam. Ces. vedisser oj (= oggi) si bellam. §Baudo vedesser 
oi sibellam. Torr. visibelem. 


SONNETS 61 


III: Notar Jacopo DA LENTINO 


F. 96 (Notar Jacopo da Lentino). 

All., 398; Occhi, 318; Val., I, 308; Ant., 73; Le M., 15; Nann., 293; Mon., 60; 
Ces., 239; D’Anc. B., 62; Torraca, Nuova Antologia, 3d series, vol. liii (1894), p. 
389; Baudo, 69: Torr., Man. I, 31; Card., 246. 


Amor é un disio che ven da core 
per abondanza di gran placimento; 
e gl’ ochi in prima generan |’amore, 
4 e lo core li da nutricamento. 
Ben é alcuna fiata om amatore, 
senza vedere so ’namoramento; 
ma quel amor che stringe con furore, 
8 da la vista degl’ ochi 4 nascimento. 
Ché gl’ ochi rapresentan a lo core 
d’ogni cosa, che veden, bona e ria, 
com’ é formata naturalemente; 
12 e lo core che di zo é concepitore, 
zo che imagina e place, quel disia: 
e questo amore regna fra la gente. 


1. desio 2. habundanza de grand placimento 3. oglien... genera 4. nu- 
trigamento 7. strenze cum 8. dig ogli ... nasmento 9. ogli representa 
to. donni ... bono e rio; the last 0 of bono added by Nic. de’ R. 11. cum... na- 
turalm. 12. go... concipitore; 13. zo che] lacking; ymacina ... place ... desio 
14. zente 


Editions: Ces. gives the probable Sicil. ee ro. Val., Nann., Mon., D’Anc. B., 
Baudo, Torr., Card. bono e rio The same editions have Immagina, € 
piace quel disio Ces. as ventana © plac kil disia; 14. Ces. ’ntra 


62 SONNETS 


TENZONE II (SONNETS Iv—vimI) 


L’ABATE pi Tivott, Notar GIacomo 


IV: L’Apate pi TIvott 


A 326 (l’Abate di Tiboli); D 343 (anon.). 
Mon., 60; Card., 246. 
Mss.: A has cie for ce, gie for ge, mgn for gn. 


[Ms. A] 
Oi! Deo d’amore, a te faccio preghera 
ca m’ inteniate s’io chero razone: 
cad io son tutto fatto a tua manera, 
4 cavelli e barba agio a tua fazone, 
ed ogni parte aio, viso e cera, 
e segio in quatro serpi ogne stasgione, 
per l’ale gran giornata m’ é legera, 
8 perd fui fatto a tua sperasgione. 
E son montato per le quatro scale, 
e som asiso; ma tu m’ai feruto 
de lo dardo de l’auro; ond’ 6 gran male, 
12 ché per mezzo lo core m’ 4 partuto. 
Di quello de lo piombo fa’ altretale 
a quella per cui questo m’ é avenuto. 


1. A facco D Ai... voi 2. D chemintendiatesi...ragione 3. A 
sono...tuo D gia son io facto 4. D aggio chauelli...faccone 5. D 
enongni...aggio 6. A serppi OD seggion quattro... ogni stagione 7. A 
e la lingua a gior. D leggera 8. A aquesta misprespresgione D son ben 
nato attua speragione g. A sono D salito... quattro 10. A e dato mai 
fer. D sono afficto mattumm 11. D del... dell... nd 12. A Eper- 
ee ree eer 13. A pimbo fo D da... del... altrectale 
14. ui 


Editions: 5. Mon., Card. agio 6. Mon., Card.fegio 7. Mon., Card. ela 
lengua a giorn. ro. Mon. e sono afficto 


SONNETS 63 


V: Notaro Gracomo 


A 327 (Notaro Giacomo). Anonymous in the following: D, 519; J(D) 376; 
Ji(D) 127, carta 100%; E, anno 1300. 
All., 446; Val., I, 310; Pellegrini, Propugnatore, N.S. II, pt. I, p. 154; Mon. 
61; Baudo, 71; Card., 247. 
[Ms. A] 
Feruto sono isvariatamente: 
Amore m’ 4 feruto; o! per che cosa ? 
cad io degia dire lo convenente 
4 di que’ che di trovar non anno posa. 
Ca dicon ne’ lor detti fermamente, 
c’ Amore 4 deita im sé richiosa; 
ed io lo dico che non é neiente, 
8 ca dio d’amore sia od essere osa. 
E chi me ne volesse contastare, 
i’ gliene mostreria rasgione avanti, 
ca Dio non é se non una deitate; 
12 e Dio in vanita non vi pd stare. 
Voi che trovate novi detti tanti, 
posatelo di dir, ché voi pecate. 


(Mss. A, D, E only): 1. D suariatam. 2. D amor... chosa E or per 
3. D ched ... deggia dir E Perch’io vi saccia dir 4. A quelli ... trouare 
E que (Ii... del 5. A dicono ... loro D che... decti E dicono in 
... dicto spessam. 6. D ch amor... in... rinchiusa E che... a in se 
deitate inclusa 7. A nonn OD dicho... niente 8. D che... amor... 
esser  E che piu d’un dio non e ne esser(e) osa 9. E lo mi to. D gle 
ne mosterria ragion dauanti E io lil mostrerei per via e manto 11. A nonne 
D che E come non épiud_  =412.A nonuolgliopiu  £E In vanitate non 
voglo piu 13. D decti EE novo dictoe canto 14. A dire... pechate 
D pecchate E partitevi da cio ... peccate 


Editions: 3 Val., Baudo CheaDio 6. Val., Baudo aveessainse tz. Val., 
Baudo Che in Dio 12. All. Ed io in v. non volglio pit Val., Baudo, Card. 
Ed io in vanita non vo’ pid stare Mon. ed io in v. non volglio stare 


“> 


64 SONNETS 


VI: L’ABATE pI TIVOLI 


A 328 (l’Abate di Tiboli). Anonymous in D 344, and E anno 1300. 

Mon., 61; Propugn. N.S. Ill, pt. Il, p. 155; Card., 247. 

Mss.: A has cie for ce, lgli for gli (except 1. 12), mgn for gn. D has¢ for z, 
sometimes cha, cho, and /gl for gli. E has gl for gli. 


[Ms. A] 


Qual omo altrui riprende spessamente 
a re’ rampogne viene tale fiate. 
A te lo dico, amico, imprimamente, 
4 ca non credo ca lealemente amiate. 
S’ Amor t’avess’ feruto coralmente, 
nom parleresti per divinitate; 
inanti credereste certamente 
8 c’Amore avesse im sé gran potestate. 
Amore 4 molto scura canoscenza; 
si n’ adivien come d’una bataglia: 
chi sta veder riprende chi combatte. 
12 Quella ripresa non tegno a vaglienza. 
Chi acatta lo mercato sa che vaglia; 
chi leva sente pit che quel che batte. 


1. D uomoaltru. E homriprendealtrui 2. D, E ale rampogne uenea le 
3. Dauolo E Pervoi 4. D cheo...chelealment. FE che... che leal- 
mente 5. A amore tauesse...coralemente D u auesse E Che s’amor 
vi stringesse 6. D non OD,E parlereste FE douinitate 7. A nanti D 
uostra credenca fora certam. E angi ... ueracemente 8. D chamor... 
in E cheelli...in 9. A schura’-- E Per cid ch’é di si schura canoscenca 
1o. A adiuiene D ediuen come que chea la battalgla E che douen come 
d{i}una rz. A uedere OD chetten menteeriprende que che E [a] ueder 
12. A ualienza OD ripresta ... tengho ualenca E tegne ualenca 113. D, 
E accatta | 14. A lieuie ... quello E quei The end of the last three lines 
in A is partly erased. 


Editions: 2, Mon. a le flate Card. a le ramp....a le fiate 5. Mon. 
avesse 


SONNETS 65 


VII: Notaro GIAcomo 


A 329 (Notaro Giacomo); D 345 (anon.). 
All., 447; Val., I, 311; Ant., 73; Mon., 62; Baudo, 71; Card., 247. 
Mss.: A has cie for ce, gie for ge, ngn for gn. D has mgn for gn. 


[Ms. A] 
Cotale gioco mai nom fue veduto, 
c’ agio vercogna di dir cid che sento, 
e dottovi che non mi sia .creduto, 
4 perc’ ogn’ omo ne vive a scaltrimento. 
Pur un poco sia d’Amore feruto, 
si si ragenza e fa suo parlamento, 
e dice: “ Donna, s’ i’ non 6 il tuo aiuto, 
8 i’ me ’nde moro, e fonne saramento.” 
Grande noia mi fanno i menzonieri, 
si ‘nprontamente dicon la menzogna; 
ma io lo vero dicolo volontieri. 
12 Ma tacciolmi, che no mi sia vergogna; 
ca d’ogni parte, Amor, 5 pemsieri, 
ed entra meve com’ agua in spogna. 


1. D cotal giuocho non fu mai 2. A dire... chessento D cho uergon- 
gna...chio 3. D temone... nommi 4. D peroch...uomuiue 5. A 
uno D e pur un pocho.. . amor 6. D sissi racchocca e sfa su 7. D io 

. agio aiuto 8. D io mene og. A menzoneri D pero gran ... fanno men- 
conieri to. A dicono OD perluprontamente...lormencgogne 11. D che 
ol uero e dirial uolentieri 12. D Ma cielolo pero che m e 13. A partte De 
nonne parte amor penseri 14. D intrate in me chom ... ispungna 


In A the following words and syllables are almost completely illegible: 2. e cio 
chessento 4. trimento 6. lamento ro. nolamenzongna 14. inspongna 


Editions: 2. Mon. dire... ch’io Val. direilmiotalento 3. Mon., Card. 
dottone 4. Val. viva contento 6. Val. suo intendimento Mon. si si rac- 
chogca raccozza 7. Mon., Card. agio ajuto 8. Val. sacramento 
10. Val. dicon falsitate Mon., Card. lor mencogne tr. Val., Card. dicol 
12. Val. _ Maggiore ogni cosaélealtate 13. Val. Ch’ad ogni parte amor tragge 
ipensieri Mon. onnep. 14. Val. Ed io leal moraggio in veritate Mon. 
entra’...ispungna Card. ispugna 


N. B. Baudo follows Val. throughout. 


“—_ 


66 SONNETS 


VIII: L’Asate pr Trvort 


A 330 (l’Abate di Tiboli). 
Mon. 62. 
Con vostro onore facciovi uno ’nvito, 
ser Giacomo valente, [a cui mi chino]; 
lo vostro amor voria fermo e compito, 
4 e per vostro amor ben amo Lentino. 
Lo vostro detto, poi ch’io l’agio adito, 
pit mi rischiara che l’airo serino. 
Magio imfra li mesi é ’1 pit alorito, 
8 per dolzi fior, che spande, egli é ’1 pid fino. 
Or dumque a magio asimigliato sete, 
ché spandete [fior dolzi] ed amorosi, 
pit di nullo altro amador c’omo saccia. 
12 Ed io v’amo pit che non credete; 
se ’nver di voi trovai detti noiosi, 
riposome ’nde, alora c’ a voi piaccia. 


1. faccovi 2. [a cui mi chino] almost illegible, but one can read with fair cer- 
tainty achuj ... chino 3,4. amore 6. airasereno 8. fiori 9. asimilgliato 
siete 10. [fior dolzi], seven or eight letters illegible. “‘ Di esse non si scorgono che 
le tracce d’una z”’ (Egidi) Ir. amadore...sacca 14. piacca 


Monaci: The words in brackets are omitted. 5. udito 6. sereno 8. fiori 
I4. mende date, e cid vi piaccia 


SONNETS 67 


IX 
A 333 (Notaro Giacomo). 
All., 448; Val., I, 314; Ant., 74; Mon., 55; Villani, Lir. ital., 31; Baudo, 74. 
Ms.: A has gie for ge, lgli for gli, ngn for gn. 


Lo giglio, quand’ é colto, tost’ é passo, 
da poi la sua natura lui no é giunta; 
ed io, da che son partuto uno passo 
4 da voi, mia donna, dolemi ogni giunta. 
Perché d’amare ogni amadore passo, 
in tanta alteze lo mio core giunta; 
cosi mi fere Amor la ’vumque passo, 
8 com’ aghila quand’ a la caccia é giunta. 
Oi lasso me! che nato fui in tal punto, 
s’umque no amasse se non voi chit gente; 
questo saccia, madonna, da mia parte. 
12 Im prima che vi vidi ne fuo punto, 
servivi ed inoravi a tutta gente; 
da voi, bella, lo mio core nom parte. 


3. daqunche sono 6. tante 7. amore 68. cacca 9g. tale 11. sacca 
«+. partte 14. partte 
Editions: Baudo follows Val. 2. Val. non li é 3. All. cunque sono p. 


no Val. io da ch’unque 6. Val. tante 8. Mon. quando la to. Val. 
Che non amasse...sig. 12. Val. nelsuopunto 13. Val. sera e di v’inorai 


68 SONNETS 


xX 
A 334 (Notaro Giacomo). 


All., 449; Crescim., III, 44; Occhi, 317; Val., I, 315; Ant., 75; Le M., 15; 
Nann., 119; Mon., 54; Villani, Lir. ital., 33; Baudo,-74; Card., 249. 
Ms.: has gie for ge. 
Sicome il sol che manda la sua spera 
e passa per lo vetro e no lo parte, 
e l’altro vetro che le donne spera, 
4 che passa gli ochi e va da I’altra parte; 
cosi l’Amore fere 14 ove spera, 
e mandavi lo dardo da sua parte; 
fere in tal loco che l’omo non spera, 
8 passa per gli ochi e lo core diparte. 
Lo dardo de l’Amore, 1a ove giunge, 
da poi che da feruta, si s’aprende 
di foco c’arde dentro e fuor nom pare. 
12 E due cori imsieme ora li giunge, 
de l’arte de l’Amore si gli aprende, 
e fa ch’ é uno e l’altro d’amor pare. 


rt. sole 2, 4, 6” partte 7. tale 8. e passa ... dipartte 11. fuori 
13. artte...silgli 14. amore 


Editions: 14. Val., Nann., Baudo chel’unoelaltroéd’amorp. Card. che 
Puno é Paltro d’amor p. 


SONNETS 69 


XI 
A 336 (Notaro Giacomo). 
All, 451; Occhi, 319; Val., I, 316; Mon., 54; Baudo, 76; Card., 248. 
Ms.: Has cie for ce, gie for ge, /gli for gli, ngn for gn. 


Molti amadori la lor malatia 
portano in core, che ’m vista nom pare; 
ed io nom posso si celar la mia 
4 ch’ ella nom paia per lo mio penare; 
pero che son sotto altrui segnoria, 
né di meve non 6 neiente a fare, 
se non quanto madonna mia voria, 
8 ch’ella mi pote morte e vita dare. 
Su’ é lo core, e suo sono tutto quanto, 
e chi non 4 comsiglio da suo core, 
non vive imfra la gente como deve. 

12 Cad io nom sono mio né pit né tanto, 
se non quanto madonna é de mi fore, 
ed un poco di spirito ch’ é ’n meve. 

t. loro 3. cielare 5. sono 6. nonno...affare 8. mortte 13. ve- 
demi difore 14. uno 


Editions: 6. Val. mene 12. Val. Edio 13. All., Val. va dime AIL. 
di f. 14. Val. spirito riceve 


N. B. — Baudo follows Val. except for quando (quanto), lL. 13. 


-— 


7° 


ogni gioia: allo Notaro 4. V 


SONNETS 


XII 
A 365 (Notaro Giacomo). 


All, 453; Occhi, 320; Val., I, 318; Baudo, 77. 
Ms.: Has cie for ce, gie for ge, ngn for gn. 


Donna, vostri sembianti mi mostraro 
isperanza d’amore e benvolenza, 
ed io sovr’ ogni gioia lo n’ 6 caro 
4 lo vostro amore e far vostra piagenza. 
Or vi mostrate irata; dumqu’ é raro, 
senza ch’ io pechi, darmi penitenza; 
e fatt’ avete de la penna caro, 
8 come nochier c’ 4 falsa canoscenza. 
Disconoscenza ben mi par che sia, 
la conoscenza che non a fermeze, 
che si rimuta per ogni volire. 
12 Dumque nom siete voi in vostra balia, 
né in altrui c’ aia ferma prodeze, 
e non avrete bon fine al gioire. 


4. fare 8. nochiere...falssa 9. pare 10, monn 11. uolere 13. inn 
. ferme 14. bono 


Editions: Baudo is a copy of Val. 3. All. gioia lo notaro Val. Ed io sent’ 
é far 7. All., Val. Ose... (lacuna) della 


pennacaro 11. D’Anc. C. rimeta 13. All., Val. altrui sara 


SONNETS 


XIII 


B 411 (Notar Giacomo); B’ p. 46> (idem); A 388 (anon). 
Val., I, 303; Ant., 71; Ces., 280; Baudo, 76. 
Mss.: A has gie for ge, lgli for gli, ngn for gn. B has ¢ for 2, ct for i. 


I2 


1. A amare 


[Ms. A] 


Ogn’ omo, c’ ama, dé amar lo suo onore 


e de la donna, che prende ad amare. 
E folle chi non é conoscidore 

che la natura dé l’omo isforzare. 

E non dé dire cid ch’ egli ave in core, 
ché la parola non po ritornare; 

e da la gente n’ é tenuto migliore 

chi 4 misura nelo suo parlare. 


Dumque, madonna, mi voglio sofrire 


di far sembianti a la vostra contrata, 
ché la gente si forza di maldire. 

E facciol perché nom siate blasmata; 
ché l’omo si diletta pit di dire 

lo male che lo bene tale fiata. 


B [o] gn... chama...amar sonore 3. A none 


feritore 4. A omo B deueomo_ 5. B Nulomodeue... ciocain 


7. 
Datucta gente tenute milliore 8B so 9. B Pero...uollio 10. A fare 


7i 


B senblanca in uostra contrada 11. A maledire B perche ... sisforca. 12. A 


la fiata 


Editions: Val., Ces., and Baudo all follow B. 


72 SONNETS 


XIV 


B 381 (Notar Giacomo); B? p. 31> (idem). Anon. in A 389 and C 169. 

Val., I, 293; Ant., 68; Baudo, 78. 

Mss.: B and C have the lines in this order: 9, 11, 10, 12, 14, 13. A has cie 
for ce. B has cie for ce, ¢forz. C has ¢ for z, & for ch. 


[Ms. A] 
All’ aira chiara 6 vista plogia dare, 
ed a lo scuro rendere chiarore, 
e foco arzente ghiaccia diventare, 
4 e freda neve rendere calore, 
e dolze cosa molto amareare, 
ed el amare rendere dolzore, 
e due guerieri im fina pace stare, 
8 e ’ntra due amici nascere incendore. 
Ed 6 vista d’Amor cosa pit forte: 
ch’ era feruto, e sandmi ferendo; 
lo foco donde ardea stutd com foco. 
12 La vita che mi dié fue la mia morte; 
lo foco che mi stinse ora ne ’ncendo; 
d’amor mi trasse e misemi im su’ loco. 

1. B [Ajlare craro ... pioga C Alaire kiaro ... piogia 2. A schuro 
B, C ed... scuro] poi cheturbato B render Cclarore 3. B,C E freda neve 
ghiacia douentare C nieve 4. B,C e la fredura B chalore C tornare in 
5. A cose B,C Evcosadolce...amaregiare 6. B, C elamareca tornare in 
B dolciore 7. B du guerreri in... istare C dui guerrieriin 8. A nosciere 
cierore B,C e] lacking B fra due amanti...errore C fradui amore 9. A 
amore... fortte B uisto C Eouistod’amore to. B simeferio...me C si 
mi ferio 11. B lome cor carde astutato confocho; so also C but with mio and 
foco. 12. A mortte Bome...fu. C mide 13. A stinsse' 8B strinsse 


C stringe ora mincende 14. A amore B chesime istringe amor notrouo 
loco; so also C but with mistringe ... non 


Editions: Val. and Baudo both follow B closely. Baudo has nece for neve, lL. 4. 


SONNETS 73 


XV 
A 400 (Notaro Giacomo). 
All., 454; Occhi, 320; Val., I, 319; Ant., 73; LeM., 73; Nann., 123; D’Anc. B., 
61; Wiese, 203; Ros., 33; Baudo, 67; Savj-Lopez, Bart., 161; Card., 248. 


Io m’ agio posto in core a Dio servire, 
com’ io potesse gire im paradiso, 
al santo loco, c’agio audito dire, 

4 o’ si mantien sollazo, gioco e riso. 
Sanza mia donna non vi voria gire, 
quella c’ 4 blonda testa e claro viso, 
ché sanza lei nom porzeria gaudire, 

8 estando da la mia donna diviso. 

Ma no lo dico a tale intendimento 
perch’ io pecato ci vollesse fare; 
se non veder lo suo bel portamento, 
e ’| bello viso e ’1 morbido sguardare; 
ché ’] mi teria in gran comsolamento, 
vegendo la mia donna in ghiora stare. 


4. oue...mantiene 5. lamia 6. calablondda...elclaro 7. gaudera 
to. uellesse 11. uedere ... bello porttamento 12. Elobello 13. chelo... 
grande 14. uegiendo 

Editions: (Nann., D’Anc. B. and Baudo are the same as Val.) 5. Val. Ma- 
donna 6. Wiese Quella ala ... e’l claro 7. Val., Card. poteria 8. Val. 
istando (Baudo i’ stando) 13. Card. Ch’el 14. Val. gioia Card. gloria 


74 SONNETS 


XVI 


B 375 (Notar Giacomo); B? p. 29 (idem). 
Val., I, 291; Ant., 67; Baudo, 75; Card., 


249; Ros., 40. 


Lo viso mi fa andare alegramente, 
lo bello viso mi fa rinegare, 
lo viso me conforta ispesamente, 
4 l’adorno viso che mi fa penare. 


Lo chiaro viso de la pi 


x 
u avenente, 


l’adorno viso riso me fa fare. 


Di quello viso parlane 


la gente, 


8 che nullo viso contra li po stare. 
Chi vide mai cosi begli ochi in viso ? 
né si amorosi fare li senbianti ? 
né boca con cotanto dolce riso ? 
12 Quand’eo li parlo, moroli davanti, 


e paremi ch’ i vada in 


paradiso, 


e tegnomi sovrano d’ ogn’ amanti. 


B: x, Space left blank for Lof Lo 1, 2,3, 5 uisso 


8. contra] lacking 9g. beglli 11. bocha 


Editions: Val. follows the Ms. closely. 
Sic., p. 282, gives fore (for fare); Baudo also. 


2. rineghare 7. giente 


... Tisso I4. amante 


4. Baudo pensare 


to. Ces. Poes. 


SONNETS 75 


XVII 


B 376 (Notar Giacomo); B’ p. 30 (idem). 
Val., I, 292; Ant., 68; Mon., 55; Villani, Lir. ital., 32; Baudo, 73. 
Lo viso e son diviso da lo viso, 
e per aviso credo ben visare; 
pero divis’ 6 viso da lo viso, 
4 ch’ altr’ é lo viso che lo divisare. 
E per aviso viso in tale viso, 
del quale me non posso divisare. 
Viso a vedere quell’ é per aviso, 
8 che non é altro se non Deo devisare. 
Entro aviso e per aviso no é diviso, 
che non é altro che visare in viso; 
perd mi sforzo tuttora visare. 
12 Credo per aviso che da lo viso 
giamai me non poss’ essere diviso, 
che l’uomo v’inde possa divisare. 


B: 1. ouisso; initial L] lacking 2. auisso 6. qual 11. sforgotuctora 12. 
lo] lacking. 

Editions: Baudo follows Val. _ 1. Villani da lo riso. 2. Villani risare 3. Val., 
Mon. mieey viso _ Villani diviso riso 4-12. Villani has the following: 4. di- 
risare 5. risoin 8. altro] lacking 10. risareinriso 11. risare 12, da riso 
In 1. 12 Val. and Mon. lack lo 


— 


76 SONNETS 


XVIII 


B 382 (Notar Giacomo); B’ p. 32 (idem). 
Val., I, 294; Baudo, 77. 
Ms. B: Has ¢ for 2. 


Si alta amanza a presa lo me’ core 
ch’ i’ mi disfido de lo conpimento; 
ché in aguila gruera 6 messo amore; 
4 ben est’ orgoglio, ma no falimento. 
Ch’ Amor l’encalza e spera aulente frore; 
ch’ albor altera incrina dolce vento, 
e lo diamante ronpe a tute l’ore 
8 de lacreme lo molle sentimento. 
Donqua, Madonna, se lacrime e pianto 
del diamante frange la dureze, 
la vostra alteze poria isbasare 
12 lo meo penar amoroso, ch’ é tanto, 
umiliare la vostra dureze, 
e foco d’amor in vui alumare. 


B: 1. Space left blank for S of Si 4. orghollio 10. ledur. rz. la] lacking; 
uostre 13. leuostre 14. inuiui 


Editions: Val., Baudo 3. guerrera 10, 11, 13. Like the Ms. 


SONNETS 77 


XIX 
B 383 (Notar Giacomo); B’ p. 32> (idem). 
Val., I, 295; Ant., 69; Baudo, 78. 


Per sofrenza si vince gran vetoria, 
ond’ omo ven spesora in dignitate, 
si con si trova nel’ antica istoria 

4 di Iobo, ch’ ebbe tanta aversitate, 
chi fu sofrente, no perdéo memoria 
per grave pene ch’ a lui fosser date; 
onde li fu data corona in groria 

8 davanti la divina maiestate. 

Perd conforto grande, dico, prendo; 
ancor la mia ventura vada torta, 
no me dispero certo malamente. 

12 Ché la ventura senpre va corendo, 
e tostamente rica gioia aporta 
a chiunque sia bono soferente. 


B: 1. Space left blank for P of Per; soferenca 2. dignitade 4. auersitade 
7. The words nela groria were added in the margin by a more recent hand 10. an- 
cora 13. richa 14. sia] lacking. 


Editions: Val., Baudo 7. gloria 9. grande di cid p. 14. é bono 


78 SONNETS 


XX 


B 384 (Notar Giacomo); B’ p. 33 (idem). 
Val., I, 296; Ant., 69; Baudo, 80. 


Certo me par che far dea bon signore 
i’ signoria sua fier cominciamento, 
si che lo doti chi 4 malvascia in core, 
4 e chi 1’4 bono, megliori il su’ talento. 
Cosi poria venire a grande onore, 
e a bon fine de lo so regimento; 
ché, se dal cominciar mostra valore, 
8 porase render dolce al finimento. 
Ma in te, Amore, vegio lo contraro, 
si como quello pien di falisone, 
ch’ al cominciar no mostri fior d’amaro, 
12 poi scruopi tua malvagia openione; 
qual piti ti serve a fe, quel men ai caro, 
ond’ eo t’ aprovo per signor felone. 


B: 1. Certo] ierto, with initial lacking; pare 2. cominciameto 
5. al lacking 7. cominciare 


Editions: Val.,Baudo 3. dotti... malvagiocore 4. buon 
ing. 8. porassi 12. scuopri 


4. melliori 


5. a grande] 


SONNETS 79 


XXI 


B 396 (Notar Giacomo); B? p. 39 (idem). 
Val., I, 297; Ant., 69; Baudo, 63. 


Si como ’| parpaglion, ch’ 4 tal natura, 
non si rancura — de ferire al foco, 
m/’avete fatto gentil creatura; 

4 non date cura — s’eo incendo e coco. 
Venendo a voi lo meo cor s’asigura, 
pensando tal chiarura — sia gioco, 
come ’1 zitello, ed oblio l’arsura; 

8 mai non trovai ventura — in alcun loco. 

Cid é lo cor, che non 4 cid che brama, 
se mor’ ardendo nela dolce fiamma, 
rendendolle vita, com’ la finise. 

12 E poi l’amor naturalmente il chiama, 
e l’adorneze che ’nspira la fiamma, 
rendendogle vita com’ la finise. 


B: 1. [s]i... parpaglione “2. focho 7. Citello eoblio 9. noa_ to. fiama 
II. come 13. adornece kensperie ... fiama 14. The reading of Casini 
rendendoglie zs an error. 


Editions: Val., Baudo 7. oblia 11. Rendendol...come 13. E l’ador- 
nezzaéche spegnela 14. Rendendol 


80 SONNETS 


XXII 


B 397 (Notar Giacomo). Under Giacomo also in the following derivatives of B: 
B', f. 240; B* 3, guinterno V; [B*]; B*4, carta 302; B', f. 240%; B’ p. 39>; J(B) 
320, carta 128°; J‘(B), carta 320; J*(B) 273, carta 126°; J*(B) 76, carta 62°. 

All., 442; Bella Mano 825; Occhi, 316; Val., I, 298; Ant., 70; Le M.,15; Nann. 
118; Baudo, 66; Card., 248. 

[Ms. B] 
Chi non avesse mai veduto foco 
no crederia che cocere potesse; » 
anti li senbraria solazo e gioco 
4 lo so isprendore quando lo vedesse. 
Ma s’ello lo tocasse in alcun loco, 
be-lli senbrara che forte cocesse. 
Quello d’amore m’a tocato un poco; 
8 molto me coce. Deo, che s’aprendesse! 
Che s’aprendesse in voi, donna mia! 
che mi mostrate dar solazo amando, 
e voi mi date pur pen’ e tormento. 
12 E certo l’Amor fa gran vilania, 
che no distringe te, che vai gabando; 
a me, che servo, non da isbaldimento. 


B: 1. Chil] initial left blank 3. solaco 4. isprendor 5. alqun 6. sebrara 
7. tochato 10. solaco 13. ghabando 


Editions: 9. Val., Nann., Baudo, Card. o donna 12. Bella Mano Certo 
...face Card. E] lacking 13. Bella Mano, Val., Card. distrugge  Nann., 
Baudo distrigne 


SONNETS 


XXHI 


B 409 (Notar Giacomo); B’ p. 45> (idem). 
Val., I, 302; Le M., 15; Nann., 120; Baudo, 64; Ros., 36. 
Ms. B: Has ¢ for z. 


Diamante, né smiraldo, né zafino, 


8 


né vernul’ altra gema preziosa, 
topazo, né giaquinto, né rubino, 

né l’aritropia, ch’ é si vertudiosa, 

né l’amatisto, né ’1 carbonchio fino, 
lo qual é molto risprendente cosa, 
non ano tanta beleze in domino, 
quant’ 4 in sé la mia donna amorosa. 


E di vertute tutte l’autre avanza, 


I2 


B: 1. [djiam. 


e somigliante [a stella é] di sprendore, 
cola sua conta e gaia inamoranza; 

e piu bell’ é che rosa e che frore. 
Cristo le doni vita ed alegranza, 

e si la cresca in gran pregio ed onore. 


7. tante ro. somilli.; a stella é] lacking 


Editions: 12. Nann., Baudo Ed é piu bella che 


11. ghaia 


81 


82 SONNETS 


XXIV 


B 412 (Notar Giacomo); B’ p. 47 (idem). 
Val., I, 304; Ant., 72; Le M., 15; Nann., 121; Baudo, 65. 


Madonna a ’n sé vertute con valore 
pit che null’ altra gemma presiosa; 
ché isguardando mi tolse lo core, 

4 cotant’ é di natura vertudiosa. 
Pit luce sua beltate e da sprendore, 
che non fa ’1 sole, né null’ autra cosa 
de tute l’autre ell’ é sovran’ e frore, 
8 ché nulla aparegiare a lei non osa. 

Di nulla cosa non 4 mancamento, 
né fu, ned é, né non sera sua pare, 
né ’n cui si trovi tanto conplimento. 

12 E credo ben, se Dio l’avesse a fare, 
non vi metrebbe si su ’ntendimento 
che la potesse simile formare. 


B: 1. [mJadonna 2. nul 4. lucie 12. bene 


Editions: 10. Nann., Baudo pari 


i ae a 


i i 


SONNETS 83 


XXV 


B 430 (Notar Giacomo); B’ p. 55 (idem). 
Val., I, 306; Mon., 56; Villani, Lir. ital., 33; Baudo, 72. 
Ms.: Has ¢ for 2; scie for sce. 


Angelica figura e conprobata, 
dobiata — di riqura e di grandeze, 
di senno e d’adorneze sete ornata, 
4 e nata — d’afinata gentileze. 
Non mi parete femina incarnata, 
ma fatta — per gli frori di beleze, 
in cui tutta vertudie é divisata, 
8 e dat’ a — voi tuta avenanteze. 
In voi é pregio, senno e conoscenza 
e soferenza, — ch’ € somma del bene, 
como la spene — che fiorisce in grana. 
12 Come lo nome avete la potenza 
di dar sentenz’ a — chi contra voi vene, 
si com’ avene — a la Cita Romana. 


B: 1. [a]ngelicha 4. enatedafinate 8. tute 10. sofrenca ... s6ma dele 
belle 11. speme 12. aute 13. uiene 

Editions: 4. Val., Baudo, Mon., Villani afinate 8. Val., Baudo date a voi 
Val., Baudo, Mon., Villani tute 10. Val., Baudo, Mon., Villani sofrenza ... 
de lo 11. Mon., Villani speme 13. Val., Mon., Villani viene 


84 SONNETS 


XXVI 


B 432 (Notar Giacomo); B’ p. 56 (idem). 
Val., I, 307; Ant., 72; Baudo, 81. 
Ms.: Has ¢ for 2, gn for gn. 


Quand’ om 4 un bon amico leiale, 
cortesemente il dé saper tenire; 
e nol dé trar si corto de liale, 

4 che si convegna per forza partire. 
Ché d’aquistar l’amico poco vale, 
da poi che no lo sa ben mantenire, 
ché lo dé conoscere bene e male, 

8 donare e torre, e saper l’agradire. 

Ma molti creden tenere amistate 
sol per pelare altrui a la cortese, 
e non mostrare in vista cid che sia. 
12 Be-lli falla pensieri in veritate, 
chi crede fare d’altrui borsa spese, 
c’omo vivente sofrir nol poria. 


B: 1. Quand] initial added by later hand 2. tenere 6. mantenere 7. cono- 
sciere 9. amistade 10. cortege 


Editions: 14. Val., Baudo non p. 


SONNETS 85 


OF DOUBTFUL AUTHENTICITY (XXVII-XxXX) 


XXVII 


A 335 (Notaro Giacomo); [lines 1, 2 in E, anno 1310]. 
All., 450; Occhi, 318; Val., I, 301; Ant., 71; Carducci, Intorno ad alcune rime, 
p- 21; Baudo, 70. 


Ms.: A has /gli for gli, except 1. 7 (asomigliare) and ll. 8, 11 (gli); ngn for gn. 


Or come pote si gran donna entrare 
per gli ochi mei, che si picioli sone ? 
E nel mio core come pote stare, 

4 che ’n entr’ esso la porto laonque i’ vone ? 
Lo loco laonde entra gia nom pare, 
ond’ io gran meraviglia me ne done. 
Ma voglio lei a lumera asomigliare, 

8 e gli ochi mei al vetro ove si pone. 

Lo foco inchiuso poi passa di fore 
lo suo lostrore sanza far rotura; 
cosi per gli ochi mi passa lo core, 
12 no la persona, ma la sua figura. 
Rinovellare mi voglio d’amore, 
poi porto imsegna di tal criatura. 


1, 2. E puote cusi ... dona intrare ... occhi ... pigol sonno 2,4. A The 
e of sone and vone was changed into o by amore recenthand 4. A portto 5.A 
Lo] lacking 6. A grande 10.A fare 12. A fighura 14. A portto 


Editions: Baudo is a reproduction of Val. D’Anc. C. has in ll. 2, 4, 6, 8: sono, 
vono, dono, pono 3. Val. puoteentrare 4. Val. Che mentresso 7. Val. 
a lumera] Jacking D’Anc. C. lei] lui 8. Val. Agli occhi miei al cuore, ove 
9. Val., D’Anc. C. Lo foro, in cui poi § Baudo the same except foco for foro 
I Val. allocore 14. Val. insegno 


86 SONNETS 


XXVIII 


B 352 (Notar Iacomo); B’ p. 23 (idem); G f. 47° (idem); A 907 (anon.); F 72 
(Monaldo d’Aquino). 
Val., I, 290; Le M., 15; Nann., 117; Baudo, 62 (all under Giacomo). 


Mss.: B and G have the lines of the octave in this order: 1, 2, 7, 8, 3, 4, 5, 6. 
A has cie for ce, gie for ge. All the minor orthographic variants of G are not given. 


[Ms. A] 
Lo badalischio a lo spechio lucente 
trage a morire con isbaldimento, 
e ’l cecer canta pit: giolosamente 
4 quando vene a lo suo finimento; 
lo paon turba quando é pit: gaudente, 
poi c’a suoi piedi 4 riguardamento; 
ausgel fenice s’arde veramente 
8 per ritornare i’ novel nascimento. 
In ta’ nature eo sento m’ abenuto, 
c’ a morte vo allegro a la belleze, 
e ’mforzo il canto presso a lo fenire; 
12 e stando gaio torno dismaruto, 
ardendo il foco i’ novo in allegreze 
per voi, pit gente, a cui spero redire. 


1. B_badalisco B, G_ specchio F El bascilisco ... spleco lugente 
2. A vaamirare 8B traggia morire G traccia morire FF traci amorire 
cum resbaldimento 3. A cieciere ... gioioiosamente B Locesne ... gioio- 
zamente G Il cecin F ceseno ... plu dolcemente 4. B, G dacheglie 
pressoa F quandeplupresodelso 5. A paone B istando piu G si 
turba stando p. F el... quanteplu godente 6. A cassuoi B quandai 
...fa G Quando ai...fa F cum a soi pedi fa resguardimento 7. A aus- 
giello B Laugel G luccelf. F elaf. 8. A nouello B anouel G ritornar 
alnovel FF retornareal nouonasimento og. B Attainature misetauenuto G 
Attal nature mi sento adivenuto FF En tal mainera mi sento uenuto 10. A 
mortte...le | B,G challegro vado amorte ale bellesse § F chi uado alegroe 
miro le beleze 11. B forsol G Esforso B,G finire F e canto forte presso 
al morire 12. B,G diuentosmarruto fF diuentosmaruto 13. B,G uiuen- 
don foco nouo innallegresse oF eardoenfoccoecornoenalegrece 14. A chui 
B uoi piagente... reddire G piangentead FF uui plu bella 


Editions: Val., Nann., and Baudo follow Ms. B in line order and readings, except 
that all three have in 1. 9 mi sono avvenuto 


SONNETS 87 


XXTX 


B 418 (Notar Giacomo); B’ p. 49> (idem); A 850 (Petri Morovelli). 
Val., I, 305; Baudo, 82 (both under Giacomo). 
Ms. A has cie for ce, gie for ge, ngn for gn. 


[Ms. A] 
Come Il’arcento vivo fuge il foco, 
cosi mi fa del viso lo colore, 
quando vi son davanti i’ nesun loco 
4 per domandarvi, bella, gio’ d’amore. 
Vegendo voi, ardiment’ 6 si poco 
ch’ io non vi posso dire lo mio core; 
cosi, tacendo, perdo d’aver gioco, 
8 se voi nom fate come il buon segnore, 
che ’nanti c’omo chera, se n’ avede, 
cotant’ 4 im sé di bona canoscenza, 
la ’nde lo servidor non é perdente. 
12 Lo dimandare noce a chi ben crede, 
e del chiedere a lingua agio temenza, 
ma tutor colo cor sono cherente. 


1. B omo (initial lacking) largento ... fugel 2. B cholore 3. A sono... 
nesu. B Quandeo...innalcun 4.A gioia 5. B Vedendo ... ardimento 
o 6. B Chi... saciodicer...mi_ 7. A auere 8. A buono B non... 
comel bon signore 9. A como’ B nansi...lichierasi 10. B tantain... 
canoscienca 11. A servidorenonn’- 8B 1]a’nde] onde 12. A (or Ladiman- 
dare); bene B domandar nonnocia a 13. B_ poiche colalingua cherir ... 
temenca 14. A tutora...core 8B ecolocor tutor uison 


Editions: Val. and Baudo follow B closely. 


— 


88 SONNETS 


XXX 


B 410 (Notar Giacomo). Under Giacomo in the following derivatives of B: — 
B! 217, f. 240; B? 4, quinterno V; [B*]; B‘, carta 302; B', f. 240°; B’ p. 46; J(B) 
321, carta 128°; J*(B), p. 320; J*(B) 274, carta 126°; J*(B) 77, carta 62>. Monaldo 
d’Aquino, F 73. 

All., 443; Occhi, 320; Val., I, 299; Le M., 15; Nann., 118; Baudo, 61. 


[Ms. B] 


Guardando ’1 basalisco velenoso, 
che ’] so isguardare face l’on perire, 
e l’aspido serpente invidioso, 
4 che per ingegno mette altrui a morire, 
e lo dragone, ch’é si argoglioso, 
cui elli prende no lassa partire; 
a loro asenblo l’Amor, ch’é doglioso, 
8 che tormentando altrui fa languire. 
In cid 4 natura l’Amor veramente, 
che in un guardar conquide lo coragio, 
e per ingegno lo fa star dolente, 
12 e per orgoglio mena grande oltragio. 
Cui ello prende, grave pena sente; 
ben é conquiso chi a su’ signoragio.’ 
(Mss. B and F only): 1. B [g]uardando; ’l] Jacking F el basilisco uenenoso 
2. F che] lacking; lo so guardo ... lomo 3. F uicioso 4. B_ igegno 
F che] lacking; enzegno mete 5. B argollioso F orgogloso 6. F quelo 
che prende ... lasa 7. B dollioso F al uero semblo...dogloso 8. F 
langire 9. F Enzo to. B inu  F en guardar...corazo 11. F en- 


zegno 12. F orgoglo ... grand oltrazo 13. F echilo... pene 14. F e 
tormento cha so signorazo 


Editions: 2. Val.,Nann., Baudo Colsuo 43. Val. EVasp. 4. Val., Nann., 
Baudo altrui mette 8. Val. Chealtruit. Nann., Baudo Ciaschedun torm. 


SONNETS 


UNAUTHENTIC (XXXI-XXXIX) 


XXXTI 
A 338 (anon.). 
Trucchi I, 57; Baudo, 68 (both under Giacomo). 
Ms. Has scie for sce, lgli for gli. 


Fin amor di fin cor ven di valenza, 
e discende in altro cor simigliante, 
e fa di due voleri una voglienza, 
4 la qual é forte pi ca lo diamante, 
legandoli con amorosa lenza, 
che nom si rompe né scioglie l’amante. 
E dumque chi sua donna perder penza 
8 gia di fino amador non a sembiante. 
Ché fino amor non tiene sospecione, 
e nom poria cangiar la sua ’ntendanza 
chi sente forza d’amorosa sprone. 
2 E di cid porta la testimonanza 
Tristano ed Isaotta co’ ragione, 
che nom partir giamai di loro amanza. 


I. amore di fino core uene 2. core 4. fortte 6. romppe 


8. amadore nonn g. amore ... sospecioone Io. cangiare . 


14. partiro 


7. perdere 
I2. portta 


go SONNETS 


XXXII 
A 364 (anon.). 


All., 452; Occhi, 319; Val., I, 317; Baudo, 79 (all under Giacomo). 
Ms.: Has ngm for gn. 


Tanto sono temente e vergognoso 
a tutte l’ore ch’io vi sto davanti, 
che non dico 1A ond’ io son disioso, 
4 e non m/’ardisco pur di far sembianti. 
Asai fiate mi movo coragioso 
di dirvi, come dicon gli altri amanti; 
poi ch’ io son ’nanti a voi, viso amoroso, 
8 li miei pemsier di parlar sono afranti. 
Cotant’ é la temenza che m’ abonda 
di voi, madonna, ch’ io non vi dispiaccia, 
che mi ritegno e non dico neiente; 
12 e lo temere par che mi confonda, 
c’ assai pit! temo la vostra minaccia 
che l’altrui ferita duramente. 


I. uergongoso 2. dauantj (the jcorrectsane) 3. sono 4. fare sembiantj 
(thejcorrectsane) 6. dicono 7. sono 8. pemsieridiparlare 9. abondda 
10. dispiacca 12. tenere pare...confondda 13. temo... minacca 


SONNETS gI 


XXXTIT 

A 481 (Ser Jacopo da Leona). 

All, 455; Val., I, 313; Baudo, 8x (all three under Giacomo da Lentino); Mon., 
309 (Jacopo da Leona); Trucchi I, 176 (by “ uno di quei tanti buoni guelfi messi 
in canzone da Rustico ”’). 

Ms.: Has scie for sce, gie for ge, Igli for gli, ngn for gn. 


Segnori, udite strano malificio 
che fa il Barbuto l’anno di ricolta; 
che verso l’aia riza tal dificio 
4 che tra’ si ritto che nom falla volta. 
Or non é questo ben strano giudicio, 
c’a comsumare 4 si la gente tolta ? 
Chi gli averebe dato questo uficio, 
8 C’ad ogn’ om va pognendo dazo e colta ? 
Non giova che la moglie l’amonisce: 
“ Ché nom pemsi di queste tue fanciulle, 
se non che pur sopra ti miri e lisce ? ” 
12 Que’ risponde: “‘ Perché no le trastulle ? 
Torre a’ compagni non mi comparisce, 
ca rimedir nom posso pur le culle.’’ 


2.sa...anfo 3. uersso...tale 5. nonne... bene 7. Igli 8. omo 
to. diciendo che = 11. tipurmiri 14. rimedire ... lle chulle 


-* 


g2 SONNETS 


XXXIV 
A 482 (Ser Jacopo da Leona). 
All, 456; Val., I, 312; Ant., 231; Baudo, 80 (all under Giacomo da Lentino); 
Mon., 310 (Jacopo da Leona). 


** Amor m’auzide.” “ Perché?” “ Perch’ io amo.” 
“Cui?” “La bella.” “Enon é ella sagia ? ” 
“Si é, ben sai.” “ Dumque?” “ Altro nom bramo, 
4 se non che se no lei; fa si che l’agia.” 
“Como servi?” “ Eo servo e merzé le chiamo.” 
“Non ti vale?” “Non.” “ Dumqu’é ella salvagia.” 
“Non é.” “Cheé?” “No la fere ancora l’amo.” 
8 “Dove?” “Alcor; se d’Amore loco asagia, 
varami?” ‘“Sibene.” “Ome! troppo tarda.” 
“Non tarda, non; ch’ell’.é gia ripresa.” 
“Dicui?” “Di te.” “ Altro lo mio cor non guarda.” 
12 “Rico se’.” “Come?” “ Per far lunca tesa.” 
“Che no? La bella prima vuol ch’io arda.” 
“Non vuol.” “Come 1 sai?” “ Nom fa pit difesa.” 


1. Amore ... amo 2. chui ... nonne 3. bene ... bramo 4. nollei 
7.none 8.core 411. chui...core 12. fare 13. vuole 14. vuole 


SONNETS 93 


TENZONE (SONNETS XXXV, XXXVI) 


Rustico Firrepr AND BonDIE DIETAIUTI 


XXXV: Rustico Firrpr 
L 51 (Not[aro] Jacomo); A 623 (Rustico Filippi); © D370 (anon.); M 70 
(Messer Palamides de Bellendore). 
Under Rustico di Filippo in Trucchi, I, 179; Nann., 484; Federici, Rime di 
Rustico di Filippo, p. 3. Attributed to an “ autore incerto”” in Mon., 224. 


Mss: A has gie for ge, mgn for gn. D, M have the lines in the order ro, 13, 12, 
II, 14. 


[Ms. A] 
Due cavalier valenti d’un paragio 
aman di core una donna valente: 
ciascuno |’ama tutto im suo coragio, 
4 che d’ avanzar d’amar saria neiente. 
L’un é cortese ed insegnato e sagio, 
largo in donare, ed in tutto avenente; 
Valtro é prode e di grande vassallagio, 
8 fiero ed ardito e dottato da gente. 
Quale d’esti due é pit: degno d’avere 
da la sua donna cid che ne disia, 
tra quelli, c’ 4 ’m sé cortesia e savere, 
12 e l’altro d’arme molta valentia ? 
Or me ne conta tutto il tuo volere; 
s’io fosse donna, ben so qual voria. 


Variants of A, with the most important ones of D and M: 

xz. A caualieri ... uno D, M cortesi 2. A amano M amavan 
3. A ciaschunoD tanto 4. A auanzare damare M _ lauanzard’amore to. 
D quelche 11. D,M oquellichainse 12. D,M Tra quellichad arme 
tanta 14. A bene... quale D,M soben 


—* 


94 SONNETS 


XXXVI: Bonpre DIETAIUTI 


L 52 (Not [aro] Ja [como]); A 624 (Bondie Dietaiuti); D371 (anon.); M 71 
(anon.). 

Mon., 225 (“‘ autore incerto’’). 

Ms.: A has cie for ce, gie for ge, ngn for gn. 


[Ms. A] 


Da che ti piace ch’io degia contare 
lo mio voler di cid c’ai dimandato, 
diragiotene quel c’a me ne pare, 

4 quale d’esti due dé essere pi amato: 
avegna che ciascun sia da laudare 
d’alta ventura c’a ciascuno é dato, 
ma pur la donna é pit: degna d’amare 

8 quei ch’é cortese e sagio ed insegnato. 

Quelli c’A fino presgio di prodeza, 
tegno bene che grande onor li sia; 
ma si mi par c’agia magior richeza 
12 quelli c’A im sé savere e cortesia, 
perché comprende tutta gentileza; 
s’io fosse donna, a quel m’aprenderia. 


Variants of A, with the most important ones of D and M: 


1. D Poi che M ui 2. A uolere D mi...cha 3- A quello 
D dirotti tutto quel che m e n parere 4. D qual...esser 5. A ciaschuno 
...da dottara D ciascunoe dallaudare 6. A ciaschuno OD calta uer- 
tudeaciascun ™M caltauentura...ciascunedonato 8. A quelli D que 
9. D Maquellochansepregio M Equelchasigranpregio ro. A onore 
D ben... grand 11. A pare... magiore 12. M colui 14. A quello 
D sifossi M mi prenderia 


SONNETS 95 


XXXVII 


[D 251, Dt, f. 115, J(D) 296, J?(D), f£. 45, J*(D) 79; all under Jacopo Cavalcanti. 
H(D) 79 under “ Jacopo ”]. 

All., 444; Occhi, 317; Val., I, 300; Ant., 70; Baudo, 82, all under Giacomo da 
Lentino. Crescim., III, 81, and Nann., 296 under Jacopo Cavalcanti. 


Ms.: D has ¢ for z, /gl for gli, sometimes cha, cho for ca, co. H has gl for gli. 


[Ms. D] 

Pegli occhi miei una donna ed Amore 
passar correndo, e giunser nela mente 
per si gran forza, che l’anima sente 

4 andar la donna a riposar nel core. 
Onde dico: “ Senti che ’1 su’ valore 
non a verti che gli vaglia neente.” 
Perd si move a dir: ‘ Sospir dolente, 

8 vacci fuor, tu ch’ udisti quel dolore. 

Ché ’n forza tutta se’ di crudeltate, 

e tua dolceza non credo che vaglia, 
ch’ i’ veggio ch’ é sbandita umiltate; 
12 e di tue pene poco le ne caglia; 
anzi a le tue verti pres’ e schiantate; 
e quelle ch’ella non pd, Amor le taglia.” 


(Mss.D and H only). 1.D,H eamore 3.D nesente 4. H donna 
ripossar 6. D chelgli HH keuagla 10. D che ui ualgla 12. H line 


96 SONNETS 


XXXVIII 


[D 252 under Jacopo di Cavalcanti. H (D) 80 under “ Jacopo ”}. 
All., 445; Val., I, 309; Baudo, 70; all three under Giacomo da Lentino. 
Ms. D has ¢ for z, /gl for gli, ngn for gn. 


[Ms. D] 

Amore, gli occhi di colei mi fanno 
aprender dentr’ al cor, si che s’accende 
una fiamma amorosa; che discende 

4 a le membra mie angosciose, che stanno 
vinte e distrutte per paura, ch’Anno 
di questa donna mia, che merzé fende; 
onde perd la mente mia intende 

8 pianti e sospiri e doglie che diranno: 

“ Vert: d’amor, per cortesia m’aita, 
che questa bella donna non mi sdegni; 
s’ i’ son tw’ servo, pregoti che degni, 

12 non assalisca l’anima invilita, 
non si diparta; ché vedut’ 6 i segni 
che questa mia dolente é ’ndebolita.”’ 


1. H costei 2. D chor... ssaccende 2, 3. H aprender li occhi mei si ke 
s’apprende dentro dallo cor sikesacciende 5. D,H uintie distructi 6. H 
offende 7.H atende 09. D,H aiuta 1o. D, H chon disdengni 12. 
D assalischa 


The editions follow H. 


SONNETS 97 


XXXTX 
Magliabechiano, 640 (Ms. N). 
Trucchi, I, 56; Baudo, 68; Borgognoni, Nuova Aniol., Oct., 1886, p. 606. 


[From Trucchi] 
Re glorioso, pien d’ogni pietate, 
non guardate a’ prieghi che fanno i santi, 
né agli angeli, che vi stanno davanti, 

4 che per lor gioi’ questa donna chiamate. 
Guardate a noi, che nella sua beltate 
vediamo amor, 14 onde siamo amanti, 
€ cognosciam per fermo tutti quanti, 

8 che in lei é pinta vostra maestate. 

Che vedendo lei benediciamo 
la vostra gran potenza, che ci ha dato 
di voi esempio per la nostra fede. 
12 E se voi non ci avessi gran mercede, 
ciascun di noi morrebbe disperato, 
. . . quanto noi amiamo. 











NOTES 


In the metrical analysis given at the beginning of the notes to each piece, end rimes are indicated 
by capitals, internal rimes by small letters; e.g., ABbC. Figures under the line and following letters 
indicate the number of syllables in the line. When there is no figure after a capital and no special 
statement, the line is hendecasyllabic. With lines having internal rime the figure under the line and 
following the small letter gives the number of syllables in the part of the line ending with internal 
rime. Such figures as 4 + 3| 44 +33 mean: 4 lines in the first main division of a canzone stanza 
(fronte or piedi) and 3 lines in the second division (coda or versi); 44 syllables in the first division, 
33 in the second. Partition is indicated by a comma between secondary division such as piedi, versi, 
and #ercets; by a semicolon between main division, such as fronte and coda, piedi and coda, piedi and 
versi, octaves and sestets. Umissonans means that the same rimes are used in all the stanzas, or at 
least in more than one. Collegate means that words at the end of each stanza are repeated at the 
beginning of the next. As all the sonnets have fourteen hendecasyllabic lines, and all the quatrains 
of the authentic sonnets are in the ABAB order, we generally indicate only the rime order of the sestet. 


CANZONI 
I. Madonna dir vi voglio 


16 lines, 8 + 8|64-+ 64. AzBrAr;C, D7B7D;C; E;E;F7f;G, HyHzIzirG. 
Though E is generally in accord with A, the Mss. are all independent of each 
other; cf. ll. 7, 11, 16, 17, 18, 19, 26, 34, 37, 40, 48. 


Summary. The poet tries to describe his love to his disdainful lady. His heart 
is in the unspeakable agonies of death. He is like the salamander living unconsumed 
in the fire, or like the painter who is unable to render the beauty of his subject. 
As a ship in distress casts everything overboard, so he finds relief in unburdening 
his heart of its sighs and tears. He cannot free himself from the love for this 
woman, more cruel than the viper. 

This canzone, one of Giacomo’s best, was mentioned by Dante in the Vulg. 
Elog. (1, 12, § 7), as an example of the work of those excellent poets, who rise above 
the language of the common people: “ prefulgentes eorum quidam polite locuti 
sunt, vocabula curialiora in suis cantionibus compilantes.” Although in this 
passage Dante does not mention the poet’s name, and includes Giacomo among the 
Apulians, the agreement of the oldest Mss. in assigning the canzone to him, can 
hardly leave the authorship open to doubt. 

Line 15. sdengate; for ng = gn, see Cesareo, 114. 

16. vide = vede, according to Ces., 131, note; but it might well be the preterite. 

28. vivi = vive; see Ces., 130. 

37. in prodito = in prurito, as proposed by Parodi (Bull. Soc. Dant., XX, 116 
note). Jn prodito is used in this sense to-day in the South of Italy, according to 
the statement of one of Professor Grandgent’s students, who came from Apulia, I 


1 See Casini, Bull. Soc. Dant., I, 33-43. 
Ior 


102 NOTES 


believe. Parodi thus interprets the passage: “‘ che mai non s’acqueta finché non 
si gratta la dove gli prude.” Cf. also Tallgren, p. 280, note 3. 
49-60. For the simile compare Messer Stefano’s Assai creiii cielare, Il. 43 ff. 
59, 60. sofondara, gravara, old forms of the conditional, derived from the Lat. 
pluperfect. Cf. Caix, Origini, p. 230, Cesareo, p. 181 (with other references). 
78-80. “ Anche una vipera, se lo vedesse ridotto a tale, sarebbe pietosa ” (Ces., 
188, 189). Lo vederia; Ces. would read o vederia (Ms. A), regarding the o as the 


Sicil. for lo. (Ces., p. 197). 
Il. Maravigliosamente 


9 lines of 7 sylls.6 +3/42-+ 21. ABC,ABC; DDC. With commiaio. 

The Mss. A, B, and C are independent, as shown by the difference in the order 
of the stanzas and in such important readings as lines 4, 5, 13, 20, 23, 25, 27, 28, 
32, 37, 45, 51, 55, 57, 58, 63- In stanza vm A is far superior to B. All the other 
Mss. are derived from B. The unanimity in the attribution of the Mss., and the 
reference in lines 62, 63 make the authorship certain. 


Summary. The poct’s thoughts are so full of hin Indly that he bead bee ae 
always before him, like the painter who ever paints the same subject though his 
mind may be turned to other things. Yet he timidly keeps his love concealed. 
Once he painted her likeness and in her absence he now finds consolation in looking 
upon it, seeming to have her before him. The more he conceals his passion, the 
more ardently he burns; when he passes by her he does not dare to look upon her, 
but sighs and suffers. If she has been told that his praises of her are insincere, 
she can reassure herself when she sees him. He sends forth his song to entreat 
her to bestow her love on the Notary of Lentino. 

Line 3. ora; in Sicil. ura, when a noun. 

10. porle = porti. 

15, 18. core, amore. On the complicated question of this kind of rime see Gas- 
pary, Scuola poet. sicil., 203, 204; Ces., 116 ff.; Tallgren, Rime italienne, 206 f.; 
und equecially Pax, Ball; Sec, Desk sk. aie 

20-24. For the idea of painting his lady’s picture see Madonna mia, stanza VI 
and note. 

37- The stanza order of Ms. A breaks the sequence of the thought. 

Se siele: Ces., p. 263 proposes S’iscile (= Se uscite), regarding Se siele as the 
blunder of the Tuscan scribe in treating Sicil. S’issiti (= Se uscite). 

52-53- Singa, linga; see Gaspary, Scuola Sic., 188 ff.; Ces., 114, 139; Tallgren, 
266. Torr., Man. has singua, lingua, remarking that singua for segno still exists 
in some Southern dialects. For 53 Gaspary proposed Zo ch’ i’ no dire’ a linga. 

55, 57; 58, 60, 63. The readings of B spoil the rime sequence. 


Ill. Amor non vole 
10 lines of 8 sylls., 4 +6] 32+ 48. AB,AB; CCD,EED. Cf. Cas., Ann. 
B follows the same source as A for this canzone, and both attribute it to Giacomo. 
Summary. Love does not permit the poet to implore his lady’s pity nor to boast 
of his passion as is the wont of lovers. Love would not have him be an imitator 





Ss 








en eee ee 


NOTES 103 


like the monkey. Through the abuse of amorous lament, merzedc has lost all effect, 
just as jewels that have become common lose their value. Would that nine years 
might pass without lovers calling for mercy! In order to feel the sincerity of his 
passion his lady does not need conventional cries for pity; her eyes will tell her 
the truth. If she insists on a conventional entreaty (jewel) as the price of her love, 
he would die rather than consent. 

It is piquant to find the author of Donna eo languisco expressing his disgust for 
conventional lovers’ laments. Whether we have here a2 passing mood or a per- 
manent change in Giacomo’s style is hard to say; most probably the latter. Bar- 
toli called attention to the author’s satire on the prevailing poetic manner, and 
Cesareo saw in the piece “ un vero e proprio manifesto letterario.” Its attitude is 
to be compared with that shown in Giacomo’s replies to the Abate di Tivoli (sonnets 
v and vii), in which he again expresses distaste for wordy protestations; cf. p. xxiv. 

Line 2. ¢ onn’omo (= ¢ ogn’omo) as given by A is more effective than the usual 
reading, com’omo. 

Il, 13. imsigna, scigna; for this rime see note to canz. I, Il. 52, 53. 

18-20. Cf. Ces. 129 note. Ms. A has scifa not scinta. 

31. scolosmini, probably some kind of precious stone. Bartoli proposed criso- 
lithini = chrysolitho, Riv. d. Fil. Rom., U1, 237. 

47-48. “ (that) in order (for me) to win your love you should not lose (go with- 
out) a gallant entreaty.” 


IV. La ’namoranza disiosa 


8 lines, 4 + 4| 36 +34. (c)sAsBs,BsAs; CsDsDsCu. The internal rime c is in 
the first three stanzas only. One stanza is possibly lost between 1v and v. Unis- 
sonans and collegaie. On the metre cf. Mussafia, Rass. Bibl., iii, pp. 74, 75; Torraca, 
Studi del duecento, p. 72; Casini, Bull. Soc. Dant., ii, 40. 

B follows the same source as A is this canzone, and both attribute it to Giacomo. 

The fifth stanza has given rise to considerable discussion by Mussafia,' Cesareo,? 
Casini? Torraca,* Percopo,* Cian,* and Pellegrini.’ We have agreed with Cian’s 
interpretation. Cesareo (Poes. Sic., 14-17) identified the battle, mentioned in 
general terms Il. 37, 38, with the conflict between the Pisans and Genoese at Syra- 
cuse in 1205, and assigned the composition of the canzone to that year. The im- 
possibility of this has been shown by Torraca (Siudi, 46 ff.), and it is unnecessary to 
repeat his arguments. Cf. also Pellegrini, Gior. Stor., xxv, 110. 

Summary. Love commands the poet to declare boldly his love, for it is an un- 
worthy thought that the lady should make the advances. Love pardons him for 
taking the first step, as he has suffered such torments of desire for her angelic beauty. 
It is a grievous thing to be in the presence of the lady and fear her more than a 

1 Rass. Bibl. d. leit. ital., ii, 60- 

2 Studi di flol. rom., vii, 169, and Poesia Sic., 14- 

* Bull. Soc. Dant., i, 38, and Annolesioni to Ant. Rime Volg., v- 321- 
4 Studi, 46 ff. 

5 Krit. Jakresberichs d. rom. Pkilol., iii, 319. 

© Rass. Bibl, vi, 239. 

7 Giorn. Stor., xxv, 110. 


104 NOTES 


voyage across the sea or a fierce battle, and through such fear to refrain from sound- 
ing her praises. Yet he dreads to anger her by openly declaring his love; though, 
in view of his consuming passion, she would surely pardon him. 


Line 3. madonn’ de. Torr. proposed d@ instead of é found in the older editions. 
Mussafia and Pellegrini favored the de, which requires no departure from Ms. A. 

16. It is safer to follow the Ms, “ mia spregianza ” (“ to my disgrace ’’), rather 
than change to mispregianza. Collegamento did not require the repetition of the 
exact words. 

18. per me, etc. = io comincio (Mussafia). 

21-24. The reading in the text is that of Torr. with the punctuation modified as 
suggested by Casini (Bull. Soc. Dant., ii, 40). 

24. simiglianza, i.e., ‘‘ somiglianza con le creature angeliche, accennate nei versi 
che seguono ” (Casini). 

30. The line in the Mss. is defective, as it lacks a syllable. Mussafia proposed 
dottare or ridottare instead of donare. ‘Torr. has ridottare. 

31. oi mal. This line has been perplexing, but with ridottare in the preceding 
line the sense is clear. ‘‘ Love would not have me lose the happiness of love merely 
on account of fear, or of unsuitable, hesitating declarations.” 

33. Torr. discusses very fully stanza v in pp. 46-61 of the Studi, and in the 
note to p. 59 gives a number of interpretations. Of these we will quote Cian’s 
(p. 60 of Torr., note), which we have followed: “E pena gravissima ad un uomo 
[come me] il vedersi dinanzi la donna amata e [ciononostante] temerla pid d’un 
[largo, difficile] viaggio di mare, come quello da Terrasanta a Siracusa e pid d’una 
battaglia terrestre e navale, ove si combatta accanitamente, e [é pena gravissima] 
per questo timore non osare di celebrare le lodi di tal donna.” 


V. Ben m’é venuto 


8 lines, 4+4]44+ 44. AasB, AasB; bs;CCDD. Unissonans. 

The three main Mss. are independent, as shown by the different order of the 
stanzas in A and B, the lack of st. iv in C, and the divergent readings in such lines 
as 5, II, 25, 26, 29, 30, 33, 35,40. Asall three attribute the canzone to Giacomo, 
there can be no doubt about its authorship. O and P are derived from C. 

The stanza order in A is the best. 


Summary. The poet entreats his lady to soften her pride, for, though he loves 
her more every day, yet she might presume too much. It is reasonable to show 
pride toward the rebellious but not toward the humble. As those who have been 
unjust seek, after repentance, to make amends, so he takes hope. Great would be 
his joy if her pride were humbled by his love. But if she is foolishly arrogant like 
Florence, may she take a lesson from Pisa, who wisely fears the ways of the proud. 
He finally hopes that his patience will be rewarded. 


Line 32. be-llo = ben lo. 
33-38. For the historical interpretation of these lines see Introduction, pp. xx f., 
and the references there given. 


NOTES 105 


37-38. ‘‘ ‘ L’orgoglio che s’é impadronito di voi da lungo tempo, sembra che sia 
quello che lega Milano al suo carroccio ’ ch’é simbolo dell’opposizione.” (Pelaez). 


VI. Donna, eo languisco 


to lines, 4+ 6|44-+ 54. AasB, CcsB; DD,E;E,FF. 

In the Ms. the internal rime of |. 44 is not in the regular position 5.6. It 
might be modified to Cad io non trovo — merzé in cui son dato. 

The one Ms. A attributes it to Giacomo. 


Summary. The poet despairs, as his cries for pity have been of no avail. Love 
has been unjust in making his lady’s heart so cold, when his passion is so ardent. 
A thousand cries for mercy should be rewarded by at least one act of pity. Her 
great beauty torments him. If she were only merciful she would be incomparable. 
He does not regret calling for her pity, as even the lion has been known to show 
mercy. And yet, as he recalls his fruitless pleading, he ends with bitter reproaches. 


Line 4. merzide, see Ces. 99, 111, 119, 134; Tallgren, 265. 

11, 12. Tallgren, p. 295, makes the excellent suggestion: partitore ... adore 
(adori, pres. subjunct.), the latter parallel with the subjunctive intendate. 

23. belleze. The abstract nouns ending in -eze were generally the singular forms 
in the oldest poetry, and not the plural. They are in that case derivatives of -itiem, 
and not of -it#iam. The Tuscan scribes misinterpreted these singulars as plurals, 
changing the articles, adjectives, and pronouns accordingly. Cf. l. 25. See 
Mon., Crestom., p. 594, § 399; Tallgren, 284 and note. 

29. Statesse. The reading of D’Anc.C., staresse, commented upon by Ces., 
183, 184, is a mistake. 

33. On the magnanimity of the lion toward the conquered see Gaspary, Scuola 
Sic., p. 108 and note. With regard to the lion Brunetto Latini says: “ et ne sera 
ja correciez 4 home se il ne li mesfet premierement; mais 4 merveilles est piteus, 
que 1a ov il est plus correciez et plus plains d’ire et de mautalent contre lui, lors li 
pardone volentiers, et plus tost se li hom se giete 4 terre et fait semblant de crier 
merci.” (Livres dou tresor, Chabaille, p. 224). On the whole question of animal 
references in early Italian poetry see Garver, Rom. Forsch., xxi, 276 ff. 

44. See remark above, under the metrical scheme. 

45, 46. preio, peio. See Ces., 161; Tallgren, 266. 

48. We have added Amore, following Val. 


VII. Dolce coninciamento 


ro lines of 7 sylls., 4 + 6|28+ 42. St.I: AB, AB; CCB,DDB. Instanzan 
the volia is CCB, CCB; in mt AAC, DDC; in1tv BBA, BBA. Collegate. 

The only Ms., A, attributes it to Giacomo. The attribution of Trucchi to Rug- 
gieri is apparently quite unfounded. 

Summary. The poet sings his lady’s praises, and his heart is kindled with passion 
as he extolls her beauty. He recalls the words of her surrender and the rapture of 
their love. 


106 NOTES 


This pretty canzonetta in popular style, with the ardent sweetheart replacing 
the conventional, haughty “ Madonna,” is one of Giacomo’s best. Butler (p. 153) 
called attention to the similarity it has to the Acmen Septimus of Catullus, and 
suggested that the latter may have been known through the medium of some 
Florilegium. The poem is discussed at some length by Cesareo (pp. 258-261), and 
Torraca (pp. 5-7). There is no satisfactory reason for assuming with Cesareo that 
it is one of Giacomo’s earliest compositions. 


Line 4. Agri. Most probably the river Agri (Lat. Aciris), in Basilicata. As 
we know that Giacomo was at Policoro, on the banks of the Agri, with the Em- 
peror in 1233, we have a possible date for the composition of the canzone (cf. Torr., 
p. 5). Cesareo identifies our Agri with Acrae near Syracuse. Butler assumes 
Acre in Palestine, Acre and Messina representing to an Italian “ the most eastern 
and western of Frederick’s realms. So Catullus uses ‘ Syrias Britanniasque.’ ” 

6. O stella. For the stereotyped expression cf. Gaspary, Scuola Sicil., p. 61. 

13. The Ms. reading mi riprendi is difficult to interpret. Cesareo’s suggestion 
of 4 and, in the next line, favellare = favillare makes excellent sense, especially in 
connection with l. 11. “Se io t’ardo, non ho colpa; ma riprendi te stesso, se mi 
vedi favillare, dar faville ” (Ces., pp. 258, 259 note). 

33- lusingatore. On the slanderer see Gaspary, Scuola Sicil., 75, 76. 

36. per = “in spite of” (?) or “as for.” For the hated husband cf. Gaspary, 
p. 78. 

37. Casini proposed transposing the last two couplets to preserve the sequence 
of thought better, but it is far more effective as it stands: the mere mention of the 
detested husband is swiftly followed by the curse. Moreover such a change would 
result in the rime series BBB AAB which is contrary to the symmetry of the 
other versi. 


VIII. Troppo son dimorato 


12 lines, 6+ 6|50+ 42. A7Br;C, A7yB7C; D;E;F;, D7E;F;. Stanzas 1 and m 
have the same rimes; so have mt and tv. Those in v are independent (Coblas 
doblas.) 

As B in this part of the Ms. has the same source as A, we have just one authority 
for the authorship. 


Summary. The poet bitterly laments having left his fair lady to go into a dis- 
tant country. The thought of the happiness he has thrown away so wilfully and 
foolishly torments him. Love chides him. He will surely die of anguish if he 
delays any longer his return to her. 

Gaspary (Scuola Sicil., pp. 43-45) shows the similarity of the thoughts and feel- 
ings expressed in this song to those in Perdigon’s Trop ai estat mon bon esper non vi. 
As the theme of the absent lover’s lament was widespread at this period, and as it 
would naturally create a set of conventional ideas and phrases, it is unsafe to con- 
clude that Giacomo’s piece is directly inspired by Perdigon’s. It is worth noting 
that Giacomo used this theme frequently (S’io doglio, Uno disio d’amore, Membrando 
Pamoroso), and probably as a direct expression of his own experience when obliged 


OO Le ee ee ee ee 


NOTES 107 


to follow the Emperor in his travels. Cf. Chiaro’s Troppo agio fatto, A 208, a much 
closer imitation of Perdigon. See De Lollis, Gior. Stor., suppl. 1, 82, 83. 


Line 2. paise rimes with mise, and, in stanza m1, with afesi, sfesi. We have 
been satisfied with a perfect rime within each stanza. See Ces., 95; Tallgren, 
278 f. 

6. belleze, sing.; see note to canz. VI, l. 23. 

11. “ Even were I dead.” 

17. mi sfesi, “I rent my heart asunder.” Tallgren (p. 279) takes sfesi as the 
third person, which is possible, but not necessary. Egidi in the Glossario to Ms. A 
(Soc. Fil. Rom.) reads misfesi = misfeci, fect male, but the form fesi from fare is 
unknown to codex A, I believe. 

27. con’ = come. 

31, 34- For the rime series dolore, dolzore, core (43), tuttore (46) see Tallgren, 
PP- 334, 335- 

IX. Madonna mia, a voi 


8 lines of 7 sylls., 4 + 4| 28+ 28. AB, AB; CDDC. 

Although Ms. C attributes this canzone to Rugieri d’Amici, its place in the lost 
part of A, the authority of B and the mention of Lentino in 1. 54 remove any doubt 
as to its authenticity. 


Summary. The poet sends his love-sighs to his lady, to whom he has feared to 
make an open declaration. Not knowing whom to send as messenger, he prays 
Love to carry his tearful sighs and pierce her heart. He wishes that every sigh 
had intelligence so that it might entreat her pity. Her lack of response is tor- 
menting him; why does she not send encouragement ? Her great beauty impels 
him to love her more and more, but greater love than his would be impossible, 
though not impossible a greater torment. He recalls the delight he felt as one 
day he modelled in wax her form, fairer than the beautiful Iseult. Though he 
keeps secret his name, he names his birthplace Lentino. 


Line 4. diri (Mss. dire) is found in A 348. 

41. As Bertoni indicates (Zi Duecento, p. 26), we have here a direct reminiscence 
of a passage of the Tristan of Thomas, in which the unhappy lover, to console him- 
self for the absence of Iseult, made a portrait of his lady: — 

Pour igo fist il ceste image 
que dire li volt son corage, 
son bon penser, sa fole error, 
Sa paigne, sa joie d’amor, 
car ne sot vers cui descovrir 
ne son voler, ne son desir. 


Compare Maravigliosamente, ll. 20-24. 


(edit. Bédier, I, 317). 


X. S’io doglio 
7 lines of 8 sylls., 4 + 3|32-+ 24. AB, AB; CCB. 
B has here followed the same source as A, in which the piece was doubtless 
attributed to Giacomo. ll the evidence is in favor of him as the author. 


108 NOTES 


Summary. It is no wonder that the poet is sorrowful as, parted from his lady, 
he recalls his former happiness. Yet his heart, which has been torn from his 
bosom, is with her, and he is filled with sorrow and envious anger at the thought 
of his heart enjoying her sweet company. The vision of her charms fills him with 
admiration and despair. 


Lines 19-25. For this idea of the heart dwelling with the lady see Bertoni’s 
review of E. Levi, Cantilene, etc., Romania, xliii, 277. Cf. canzone xiv. 


XI. Uno disio d’amore 

12 lines, 6 +6|54-+ 52. AA;B, AAsB; CC;D;D;EE. Loosely collegate. 

This canzone was in the lost part of A. The first two lines and a half are in 
the index, no. XI, so there can be little doubt that it was attributed to Giacomo. 
In Citisanon. Val. has incorrectly attributed it to Inghilfredi, possibly because 
no. 59 in C is under his name. Val. did not have access to C directly, but only 
through the Moiicke copies of it, O, P; see Val. 1, pp. vi, vii. Nos. 60 and 61 in C 
are anon. 

Summary. The poet is in doubt whether to declare publicly his love or not. 
Love warns him of the consequences of keeping silent; yet he fears even more the 
lady’s displeasure at an open declaration. She will love him all the more for his 
jealous fears. He dreads lest he lose the treasure he possesses, and if he 
speaks too unwisely, it is Love who puts the words in his mouth. The joy he has 
in the thought of her favors is embittered by the necessity of parting from her 
to go to other lands. He is cast down by forebodings, but the thought of her love 
sustains his hope. 

For the theme of the lover’s fear and hesitation see Gaspary, Scuola sicil., 56-58. 
This canzone is not given in Baudo. 


Line 4. neente = qualcosa. 

13, 18. piui, mina. These spellings are found elsewhere in Ms. A. 

21, 22. paure, amore. Cf. Tallgren, 322 note, and Parodi’s comment (Bull. 
Soc. Dant., xx, 118 ff.). 

37, 39. S’. In 37 = se, in 39 = si. 

40, 41. solaccia, sfaccia. The Ms. here failed to observe the exact rime with 
37, 38. The original forms in all four cases ended in -acza (Cesareo, 166, 168). 


XII. Amando lungamente 


14 lines, 8 +6]64-+ 54. A;B;BrbsA, A7B;BzbsA; CsDzdsCCscsEE. Collegate. 
The position of the internal rimes is irregular, but all may have been originally 5.6. 
The text in the Mss. is very imperfect. Lines 13 and 27 should have internal 
rime. For ll. 39-41 and 51, 52, so incorrect in the Mss., we have adopted a cor- 
rected reading given in J‘, a sixteenth century Ms. 

Ms. D is derived from C, or at least has the same source, as is proved by the 
similarity of the readings and the identity of such corrupt passages as Il. 39-41, 
51,52. The other Mss. are all derived from C (cf. p. xxxviii). We have, there- 
fore, only one Ms. tradition, and it attributes the canzone to Giacomo. 


Ee | 


NOTES 109 


Summary. Having long loved his lady, the poet would now make his love known 
worthily. The one thing that torments him is not so much the suffering of love, 
as the thought that she may not know how he adores her. If he cannot express 
all he feels, may his avowal be rewarded by some show of kindness, for pride will 
not bring her joy! In her all grace and beauty abound. _If she requited his love, 
he would feel like snow turned to fire. Whatever she may do, his heart will be 
unchanging in its devotion; but it will mean death to him if she will not receive 
him into the bliss of love. 

Line 13. Internal rime might be obtained by reading “ per intendimento — de mie 
parole.” 

39. The readings of J'a which we have followed are apparently sixteenth century 
manipulations of the corrupt text derived from C. 

46, 48, 49. For these abstract nouns in -eze, see note to canz. VI, line 23. 

50. innamorio; cf. Ces., 163. 

51, 52. Tallgren proposed (p. 366): — 

E sed eo voi, madonna mia, 
amasse, e voi [pur?] meve 

60. To make the internal rime close the fifth syllable we might read: Non 
trovarete — in me lo core varo. 

67. The incorrect reading piangono given by Bartoli-Casini in their copy of 
Ms. C made the meaning of this passage perplexing to Tallgren (p. 366), but my 
correction to piangano, from personal examination of the Ms., removes the difficulty. 
The three verbs cozi (from cozzare), piangano, bagni are all subjunctives. “ If you 
will not take me under your protection, in the comfort of pity, so that it may 
strike my heart, and my eyes may pour forth tears of love and joy (and) with the 
abundance of the sweet tears bathe my whole face.” 


XIII. Guiderdone aspetto 


14 lines, 6+ 8|40+ 64. AsAsB, CsCsB; D;E;Dze;F, G7H:Grh,F. 

As seen by the readings of lines 4, 5, 18, 19, 24, 27, 20, 30, 33, 40, 42, 43, 51, 
D and its derivatives follow the same tradition as C. The question of authorship 
is therefore between A and C; and as A, in such matters, is far more reliable than 
C, the weight of evidence is in favor of Giacomo. 

Summary. In spite of his lady’s proud bearing the poet yet hopes for the fruition 
of his love, for often has he seen the humble, through persevering effort, attain high 
estate. Sincere is his love and hope. As the savage laughs at the storm, hoping 
for the return of calm, so he hopes for peace of mind. He entreats his lady to be 
moved to pity and lay aside her pride, for a fair lady without pity is like a rich man 
showing stinginess, who is despised by every one. He finally pleads that she leave 
him not to perish, for his passion, if unrequited, would be his destruction. 

Lines 10-14. Accusative with infinitive; cf. Wiese, p. 175, §62. For parallels 
see Gasp., 54. . 

24. In Wiese’s reading chell’é, chell = quello in the sense of quello che; cf. 
Wiese, p. 183, §92. Ces. (198), reads com’é o decto, interpreting o as the Sicil. 
form for Jo. 


“— 


Ito NOTES 


For the simile of the wild man see Nann., p. 58 note; Gaspary, Scuola sicil., 
tor ff. 

27. vide = vede. 

31, 34. These lines are of four syllables, as the initial vowel of the lines may 
unite with the last vowel of the preceding line; cf. ZRPh., xvii, 260; also Ces., 203. 

42. presgio. We have kept the Ms. reading in preference to the suggestion of 
Casini, spresgio, as grave may be used in an uncomplimentary ironical way. 


XIV. Membrando lamoroso 


9 lines, 6 + 3| 66+ 33. ABC, ABC; cDdEeD. Internal rimes in varying 
positions within the line. 

In the only Ms., A, this canzone is anonymous, but the reference to Lentino in 
stanza UI points almost certainly to Giacomo as the author, and suggests the 
year 1233 as the date of its composition. Giacomo was fond of referring to his 
birthplace. 


Summary. The poet, absent in a distant country, calls to mind the loving 
farewell he took from his lady, and tells of his eagerness to return to her embraces. 
His longing is intensified by the memory of her sorrow at his departure, but he is 
to return to Lentino in May, and he rejoices at the thought of their being united 
once more. Though they are separated, his heart abides with her and he is con- 
soled by the memory of her caresses and the anticipation of their future happiness. 

For the theme of the lover in a distant land see note to Troppo son dimorato 
(canz. VIII). If this piece is inspired by direct personal experience the meo sire 
of 1. 22 would be the Emperor, and the year 1233 a probable, or at least possible, 
date for its composition. See Torr., Siudi, 83 ff.; Gasp., 117-122. 


Line 27. delta, proposed by Casini, Ann, but the rime is thus imperfect: é 
with é. 

29. The first half of the line proposed by Casini, Ann. 

31. poi che = benché; cf. Rustico di Filippo, lo cor non v’é, poi ch’io faccio + 
sembianti (Wiese, p. 216). 

32. Cf. S’io doglio, 1. 23 (canz. X). 

41, 42. Perhaps we might translate freely: “‘ and I am not deprived of and kept 
from (the pleasure of) holding you many times in my arms.” 

42. In the Ms. the line lacks two syllables; bella proposed by Cas., Ann. 

43-45. “‘ It seems to me, as I thus sing, that I have this (pleasure), the time when 
I fain would that we were in a place where, quenching such a fire, I might quench 
it again.” 

XV. Poi non mi val 

9 lines, 6+ 3] 58+ 33. ABC;, ABC;; csDd;BC. Unissonans and collegate. 

B follows the same source as A. H follows the same source as C, as is seen by 
Il. 5, 10, 13, 14, 17, 19, 20, etc., and by the lack of stanza v. Of these two sources 
the more reliable attributes the canzone to Giacomo. It is significant that H is 
anonymous, 


NOTES III 


Summary. As his faithful service is unrewarded, the poet is in torments of de- 
spair. Yet it is better to suffer for his lady than enjoy the favors of any other 
woman. As he was innocent of disloyalty, she should not have taken away her 
love from him nor broken her promise to reward him. When she made this promise, 
she gave him a jewel as a token; but now she has taken it back, charging him un- 
justly with disloyalty. Disloyal he could never be to the lady who pierces his heart 
with anguish of love. 


Line 17. sua menbranza, “‘ remembrance of her.” 
37. partire = dividere. 
39. non fosse, etc., “ however lovely she might be.” 


XVI. Membrando cid ch’ Amore 


12 lines, 6 +6j50+ 42. AzBrbsC, A7BrbsC; D;D7C;, DyD;C. Commiato. 

There are only three important Mss., A, B, C; all the rest are derivatives of B. 
The best readings on the whole are those of A, and this Ms. has the piece in the 
section devoted to the Florentines, attributing it to Guglielmo Beroardi, to whom 
no. 178 is also assigned. This no. 178 refers to a Florentine lady. In C the text 
is bad, with lines 19-24 lacking. In B the name Notar Iacomo was added by a 
later hand. Giacomo’s authorship is therefore very doubtful, the weight of evi- 
dence being in favor of A. Casini (Ammot.) thought that the form suggested a 
Southern writer, but admitted the inconclusiveness of the argument. Tallgren 
(pp. 252, 279, note 3, 285 note), mentions, as an additional argument in favor of 
the attribution of A, the rimes vegna, insegna (or degna), scendesse, facesse, messe, 
impossible in a southern poet; also belleze as a plural. 


Summary. Thinking of his love-sufferings and his lady’s disdain, the poet is 
brought nigh to death. His happiness is wrecked, like the ship enticed to destruc- 
tion by the siren’s song. He did not believe that she could be so cruel as not to 
bend in pity toward him; so he sends out his song to plead in his behalf. 


Line 27. afranto, “‘ spogliato ” (Gaspary, p. 58 note). 

45. belleze. Innon-Sicil. poetry such words were regularly plural. Cf. Tallgren, 
284 note. 

53- ché-llei = ché in lei. 

54. fiumi = fiume. 

55-60. doglia, consumi, comforti, alumni are all subjunctives dependent upon 
prega, 1. 49. 

XVII. Gid lungiamente Amore 


9 lines, 6+ 3|52-+ 29. AzBsC, ArBsC; Cro;DD. Partly collegate. 

In the disagreement of the three main Mss. the authorship is uncertain. The 
readings of C, though in the main good, are the least accurate. Casini and, follow- 
ing him, Biadene are inclined to attribute the canzone to Tiberto, and I entirely 
agree with them. A has the best text, shown especially in the observance of the 
metrical form in Il. 2 and 5 of each stanza, and its attribution on that account should 
have to a certain extent the greatest weight; but besides this, the use of -eze as a 


“> 


II2 NOTES 


plural (1. ro) is not Sicilian (Tallgren, 284 note 6, 355 note 1), and that would 
exclude the attributions of both Band C. See below, note to l. 42. 


Summary. For a long time the poet’s heart has been free, but now he is held 
fast by the chains of love. So great is his lady’s beauty that he rejoices in his 
bondage, yet, though he would fain confess his love, he has not dared. If he could 
but gain courage to make a declaration, she might show him some favor, though 
she loved him not, for what would it profit her if he died of grief ? Indeed, she has 
received him kindly, and he feels encouraged to hope, but so intense is his passion 
that he can neither declare it nor hold his peace. May she take pity on him and 
bear with him, for to please her is his only wish, and if he die, hers will be the loss. 

There is hesitation in the Mss. about the length of ll. 2 and 5 of each stanza, 
which should be octosyllabic. A is most correct, reducing only one line (no. 5) 
to 7 syllables; B reduces three (23, 38, 41); C reduces two (2, 14). Val. has some 
of these lines heptasyllabic, others octosyllabic; Baudo tries to reduce them all 
to 7 syllables, but fails in two cases; Butler forces them all into 7 syllable length. 


Line ro. Observe belleze here as an unmistakable plural. 
16. co’lemenza, etc.: “ with fear to tell.” 

25. no-lle = non le. 

42. Observe in Ms. A the Pisan molte for morte. 


XVIII. Poi tanta caonoscenzsa 


11 lines, 6 + 5|58+ 47. ArBC, A;BC; DE;FyfisED. Collegate except stanza 
tm. 
The three Mss., A, C, D, appear to be independent, as shown by such lines as 
Q, 10, 18, 20, 23, 26, 28, 34, 35, 36, 37, 38, 40. A has by far the best readings. 
C is much nearer to it than D, as shown in Il. 9, 18, 20, 28, 36. The attribution of 
A has therefore the greatest weight; that of D the least, accordingly we prefer to 
assign the canzone to Piero. Though I have not yet received the readings cf K, 
I believe it is either derived from D or of the same family. In any case its testimony 
would not carry great weight. 


Summary. So perfect is his lady that the poet gladly waits for her love though 
in suffering. Love has so completely mastered him that he is now at the point of 
death, and this fate he would gladly accept. His great solace is that she has begun 
to reward his devotion. Again he exults in the happy beginning of his love, which 
he contrasts with the disappointed hopes of other men less fortunate. 

Line 13. Ja calamita; see Gaspary, Scuola sicil., 101. 

25. ed... e¢, both... and. Direct infinitive after verb of motion 
(Wiese). , 

42-44. Wiese has on these lines a long note which we do not quote, as the sense 
seems clear. 

XIX. In un gravoso affanno 

10 lines, 4 +6] 28+ 50. A;7B;, A7yBz; CyC;D, E;E;D. The rimes D the same 

in all four stanzas, i. e. a chiave. 


NOTES 113 


The three main Mss. are independent and the readings deviate but little. In A 
line 37 is inferior. In C, ll. 28, 29, 30 are lacking. In ll. 21, 23 D is weak. C is 
nearer than D to A, which has the best readings. D! is a copy of D. On the 
strength of the best readings the attribution of A would have the greatest weight. 
Borgognoni! called attention to the fact that ll. 35, 36 are almost identical to ll. 2s, 
26 of Giacomo’s Maravigliosamente, but that would not prove much. We prefer 
to favor Rinaldo as the author. 


Summary. The poet, realizing his lady’s perfection, is troubled at the seeming 
hopelessness of his passion. Yet he hopes that his humble, patient service will be 
finally rewarded. Never can his heart be moved from its loyalty to her, and if 
only she show no displeasure, he will be consoled. As men hope for salvation in 
their faith, so he can hope only in her final favor. 


Lineg. s’avanza; “ if he makes progress, overcomes.” Wiese suggests: “ wenn 
er am Leben bleibt.” 
XX. Vosira orgogliosa cera 


16 lines of 7 syllables, 8+8]56+56. ABBC, ABBC; CDDE, EFFC. 
Collegate, except stanza III. 

Of the three Mss. B alone attributes this canzone to Giacomo. Both A and C 
attribute it to an Arrigo. The Arrigo Testa of A was for some time supposed to 
be a fairly prominent historical character (1194 ?-1247), born at Arezzo, and 
during his lifetime podesta of Jesi, Siena, Ravenna, Lucca and Parma.2 Monaci* 
first proposed interpreting the Divitis of C as an error for daretio, i.e., de Aritio, but 
in opposition to him Restivo* pointed out that the family of Avitis or de Vitis 
was prominent in Messina since the twelfth century, and Scandone® preferred to 
assume a possible notary of Lentino, where the name Testa existed. Pelaez also 
argued in favor of his being a Sicilian. There is nothing non-Sicilian in his rimes.” 

According to Monaci’s theory the confusion in the attributions would be due 
to the fact that the title in the parent Ms. contained the name of the poet, followed 
by the name of the person to whom the canzone was addressed, thus: Arrigus 
Testa de Aritio not. Jacomo de Lentino® Whoever the author was, he was probably 
not Giacomo da Lentino. 


Summary. The lady’s haughty manner cools the poet’s love and fills him with 
doubt. He blames Love for this unnatural condition. Her feelings toward him 
are clearly shown in her eyes; for what the heart feels cannot be hidden. If she 
loved him, her face would reveal to him her delight and good-will, but all her show 
of friendship is feigned, and he is filled with sorrow at her treachery. His heart 


1 Propugn. IX, i, 51, 52. 

2 Zenatti, Arrigo Testa ¢ i primordi della lirica ital., 2d ed., Firenze, 1896, pp. 28, 30, et passim. 

3 Sulle divergenze dei canzonieri, in the Rendiconti della R. Accademia dei Lincei, Sept. 6, 1885, p. 661. 

4 F. E. Restivo, La scuola siciliana e Odo della Colonna, Messina, 1895, p. 12. 

5 Notizie biografiche, in Studi di lett. ital., v, 264. 

6 Rassegna bibliogr. d. lett. ital., xiv, (1906), 156-159. 

7 Tallgren, p. 341, note 1. 

8 In 1896 Monaci was convinced of the uncertainty surrounding the identity of Arrigo; cf. Per la 
storia della scuola poetica sicil., Rome, 1896. 


— 


II4 NOTES 


is unchanged in its loyalty; she should therefore, in all fairness, lay aside her 
coldness and pride. 


Line 55. The reading of A, fate o fingimento, may contain the Sicil. form of the 
article o mentioned by Cesario, pp. 197, 198. 


XXI. Amor da cui 


12 lines, 6 +6|66+58. ABC, ABC; CDE;E;DC. Collegate. Stanza 1 
has internal rime in line 5, stanza Iv in lines 2 and 5, stanza v in l. 2. 

The readings of A and B are from the same source, and are almost identical. 
C and D agree in many cases in departing from A and B (e.g., lines 2, 3, 5, 11, 17, 
25, 27, 29, 31, 35), but are often in disagreement with each other (e.g., 15, 18, 10, 
23, 26, 28, 33, and stanza Iv lacking in C). They evidently follow other traditions 
than A, B. D'wasderivedfrom D. In two independent Mss., therefore, A and C, 
the author is given as Piero de le Vigne, and this is probably correct. 


Summary. The poet tells how Love has favored him, honoring him above all 
other lovers in giving him a lady of such perfection. Her love has been bestowed 
without too long a waiting, and this is better than to have tormented him by an 
excessive penance. Short has been the service for so great a reward, and in his 
happiness he would not be the lord of the whole world, if that would mean the loss 
of her love. The fullness of his joy he cannot express. 

Line 22. i-llet = in lei. 

33, 34. A difficult passage; it may mean: “ than (to be) the man (who has 
become) wealthy through great endeavor, when it is too late (for him to enjoy his 
wealth).” Val. renders ricco by bene, and explains ragione as giustizia ottenuta 
con brighe e piati. Butler proposes: “A little good, acquired without too much 
trouble, is better than wealth (lit. a rich man) by natural right (7.e., unearned) 
after he passes his prime.” 

The reading of A, B corico might contain another example of the Sicil. article o 
(= lo), i. e. co rico; cf. Cesareo, 197, 198. 

42. We have followed the reading of D in preference to that of A, B, as the latter 
would have the rime core repeated (42, 48). 

43. Cf. Gaspary, Scuola sicil., 51. 

57, 58. The reading of our text was the happy improvement proposed by Butler. 
Casini’s was not so good (Annot.): — 


Dunquw’ eo nom posso farlo 
Nom fallo se non parlo. 


XXII. Cosi afino 


II lines, 6+ 5 | 42 a 32. A7BrCz, A7BrC7; D;D;E;E;Cs. Stanza tv has a 
commiato. 

The annotator who added the name of “ Jacopo” to this canzone probably 
referred to Giacomo da Lentino, but this evidence is at the best very untrustworthy. 
The style is far more obscure than any of Giacomo’s authentic canzoni. The use of 


a ee a ae a a see 


NOTES 115 


the plural belleze, 1. 36, awakens further doubt, though the original form of the line 
may have been changed. D’Anc. C. declared it to be hopelessly unintelligible; 
but though it is so in a number of details, we can follow the main line of thought, 
attempted in the following summary. 

Summary. As gold is refined in the fire, so the poet is tried and made perfect 
in hislove. His lady is troubled by his tears, yet these bring him consolation. She 
was grieved to have him see her under the watchful care of her jealous husband, 
and her grief for such a cause comforts him. What can he do in his torments of 
despair? So completely is he under the spell of Love that tongue could not express 
it. He sends forth his lament to the castle to tell his lady that he fain would be a 
bird to fly uncalled to her, like a falcon in pursuit of its prey. To have complete 
joy with her, though folly it might appear, he would hold back the sun in its course. 
He urges her to come discreetly and joyful to the tryst. 


Line 14. @ non guare, proposed by Casini (Annot.), to complete the line (guare 
= guari). 

30. “Alas! Why is she given to him ? ” (to the detested husband). 

33- fisar: “ beholding her.” 

37. pemsamento, i.e., wish. 

43, 44. Accusative with infinitive. 

52. amorta foco, i.e., “ quench desire.” 


DISCORDO 


Dal core mi vene 


A total of 221 lines, varying in length between two and eleven syllables. In 
Ms. A there is no division into stanzas with large initials as in the canzoni, though 
there is a blank space after each group of lines, sometimes in inappropriate places. 
In the discordo the music was more important than the logical sequence of the 
ideas expressed. See p. xxiii, and M. Casella in Bull. Soc. Dant., xix, 281, 282, 
with the references’ there given. 

Since B follows the same source as A we have the authority of but one tradition 
in favor of Giacomo as the author. 


Summary. The poet’s heart overflows at the thought of his love. The possi- 
bility that she fully requites his tenderness thrills his heart. If he thought that he 
displeased her, he would kill himself. Could he but come to her secretly, he would 
never leave her. Such lovers there never were before. Not to see her is death 
to him. When he saw her in all her beauty, he was filled with torments of desire, 
whereat his heart urged him to go to her, as she was longing for his presence. His 
heart speaks to him of nothing else, and he cares for nothing else. He recalls her 
charms and the delight of their love. Her favor inspires him to more pleasing 
service. Yet Love, who rebels at all restraint, does not bring him to her, so that 
he is distraught. He believes that his coming would give her pleasure, but she has 
not yet sent the command. Meanwhile he sends his greetings and tears. Never 


116 NOTES 


can he smile when parted from her. His heart grieves at the comments of people 
and forbids him to speak or lament. His passion consumes him, and the cry he 
utters almost kills him. All his sweet memories are offset by the pain of separa- 
tion. His love-sickness calls forth the ridicule of people, and he is forced to seek 
a hiding place. May she take pity on his anguish and send a message of loving 
consolation. 

The text of the Mss. is in many places corrupt. The common original of A and 
B was evidently defective in its readings and in its arrangement of line groups. 
Ms. A has evidently increased the confusion in this latter particular. The divisions 
in the first 72 lines in both Mss. occur at points where either the sentence or the 
metrical group is unfinished, and it seems best to leave this part of the discordo 
undivided in our text. Ll. 17, 18 do not rime in the Ms. readings. — 51 donzelli 
is fem. pl. Cf. 57. In many cases the rime requires Sic. 7 instead of Tusc. e. 
— 61-72. This arrangement of the lines, containing the reply of the heart, was 
proposed by Tallgren. — 75, 78 meco, dice should rime; cf. A mecon, dicon, B 
meco, dicon. Could it be con meve, deve or con mi, di’? — 102 dolte; Monaci 
(Crestom. 647) proposes “ forse mad olte, cioé alte.” — 103 bianca has no rime 
mate. —122 frino (= freno); cf. Cesareo, 99, 117, 119; Tallgren, 269, 271. 
— 135, 136 Tallgren proposed aggradare, alegrare, but it is not necessary to abandon 
placere. —155, 156 vole, dole, according to Tallgren, = voli, doli, 2d pers., but 
better, coragio as subject. — 161-164 obscure. Tallgren proposes de mevi dolze 
penzare, explaining “ et j’ai vu que, j’ai beau ne pas me montrer amoureux, tu 
penses 4 moi.”” — 165-175 follows order proposed by Tallgren, p. 371. — 185, 
186 gitto and siete do not rime. — 202 schivo given by Val. — 203. The reading 
of B suggests the rime series (199-203) ai v0, vivo, pensivo, schivo, si ch’i’vo, with 
sfugendo forming a separate line. — 212 martire as a plur. appears in the Mss., 
1. 216; cf. A, canzoni 62, 1. 26; 110, 1.27. The original Sicil. forms in ll. 211-216 
ended, of course, in -ir7, 


SONNETS 


I. Solicitando un poco 
CDE, CDE (D = A). 
The three sonnets of this fenzone are preserved only in the one Ms. F, the 
language of which has a Venetian coloring. 


Summary. Mostacci: questions the common belief that Love has power and 
forces hearts to love, for no one has ever seen Love. Men see an amorous state 
produced by pleasure, and this accords with the poet’s belief, but in his uncertainty 
he refers the question to the other two poets Pietro and Giacomo. 

For poetic discussions upon the nature of Amore see Gaspary, Scuola sicil., 
pp. 86 ff. 


es 


NOTES 117 


II. Peréd ch’ Amore 
CDE, CDE (E = B). 


Summary. Pietro replies that it is folly to deny the reality and power of Love, 
for, though he cannot be seen or touched, yet he can be felt ruling over the heart. 
The fact that one cannot see the power by which the loadstone draws the iron 
confirms his faith in the invisible existence of Love. 

Line 9. Ja calamita; see Gaspary, ror. 

11. si; cf. Wiese, p. 188, § 116; p. 189, § 118. 


Itt. Amor é un desio 


CDE, CDE (C = A). A sonetto continuo; cf. Biadene, Morfol. d. son., p. 78. 


Summary. Giacomo declares that Love is a desire coming from the heart 
through intense delight. It is the eyes that first engender Love, and the heart that 
feeds it. Sometimes, it is true, a man becomes enamored without seeing the object 
of his passion, but the overpowering kind of love arises from that which his eyes 
behold. For the eyes represent the object to the heart, and the heart, conceiving 
a desire, finds delight therein; and this is the Love that holds sway among men. 

I do not agree with Cesareo’s statement (Poes. Sic., 147) that the reading of 
the Ms., ll. 10-13, followed by most of the editions, makes no sense. Bono e rio 
could be neuter, i/ bono e il rio (d’ogni cosa). The real objection, raised by Cesareo, 
is the riming of rio with disio. In Sicilian we should have reo from reus, and ria 


from rea. Tallgren proposes 

e’l core, che di co é concipitore, 

ymacina, e place, ché lo desia, 
explaining thus: “ le cceur [s’en] forme une idée, et [cela lui] plait, et il en a désir ? 
La suite: ‘voild ce qu’est l’amour’ formerait dans ce cas la conclusion bien 
equilibrée d’une trilogie toute ravissante dans son laconisme ingénu.” * 


Our reading for 1. 13 was proposed by Cesareo, p. 147. 


IV. Oi! Deo d’amore 

CDC, DCD. 

All five sonnets of this tenzone between the Abate di Tivoli and Giacomo are 
foundin Ms. A. D contains the first four, anonymous; E the second and third, also 
anonymous. J derived the second one from D. The authenticity of Giacomo’s 
sonnets is proved by the mention of his name in the last one. No other poetry is 
extant from the pen of the Abate di Tivoli. 


Summary. The poet appeals for aid to Love, in whose image he is made, com- 
plaining that his heart is pierced with the golden shaft which kindles amorous pas- 
sion, while Love has sped the leaden arrow of hatred into his lady’s bosom. 

A has several bad readings, e.g., ll. 7, 8, 12, 13. D is here more correct. 


1 Op. cit., 264, note x. Cf. with this tenzone Maestro Francesco’s Moiti l'emore, A 502. 


-* 


118 NOTES 


Line 6. quatro serpi. Obscure. The classical associates of Eros are the hare, 
the cock, and the goat. 

7. Pale; refers, of course, to wings which the poet wears as the devotee of Cupid. 

9. le quatro scale; the four steps leading to Cupid’s palace. Cf. Guiraut de 
Calanso, 

En son palais, on ela vai iazer, 
a cinc portals; e qui-ls dos pot obrir, 
leu passa-Is tres, mas no-n pot leu partir; 
et ab gaug viu cel qu’i pot remaner; 
e€ poia i hom per quatre gras mout les. 
Appel, Provenz. Chrestom., no. 34, ll. 25-29. 

The symbolic meaning of these four steps, given by G. Riquier, was (1) showing 
honor, (2) using discretion, (3) serving faithfully, (4) being patient (cited by 
Torraca, Studi, 42 note). 

ro, 11. In classical mythology the golden arrows of Cupid had the quality of 
inspiring love; the leaden ones, hatred. Cf. Guiraut’s poem quoted above, stanza 1. 


V. Feruto sono 

CDE, CDE. 

The readings of A and D are practically the same except in line 12. E differs 
from them considerably; cf. ll. 8, 10, 12, 13. 

Summary. Giacomo replies that he is wounded quite otherwise by Love, for 
he finds himself compelled to pass judgment on love-sick rimesters. They are in 
error when they declare Love to be a god, for there can be no deity in such vanities. 
Let the abbot therefore cease such sinful follies. 


Line 6. richiosa riming with cosa, etc. Cf. Tallgren, 299, and Parodi, Bull. Soc. 
Dant., xx, 119, 120. 

12. The reading of voglio in A and E, adopted by other editors, was probably 
caused by the blunder of reading e dio as ed io. The sense of the passage requires 
the version of D, followed in our text; cf. Cas., Ann. 


VI. Qual omo alirui riprende 

CDE, CDE. 

The three Mss. are independent, as shown by Il. 5, 7, 8, 9, ro, 11. In all of 
these A is supported by one of the other Mss., and its readings may be regarded 
as the best. 

Summary. The abbot, in reply, reproaches Giacomo for censuring him too 
severely, and accuses him of never having loved deeply, for otherwise he would - 
admit the power of Love. The criticism of the passive witness is of little worth. 

Line 9. ‘‘ Love is (has) a mysterious science; is mysterious to understand.” 

14. “ He who lifts (the burden) feels more than the one who beats (whips).” 


VII. Cotale gioco 
CDC, DCD. 
The two Mss. are independent. A has the better readings; see ll. 10, 11, 12, 13. 


NOTES 119 


Summary. The Notary protests at the shameless way in which men, when 
once they are wounded by Love, parade their passion and call upon their lady to 
save them from death. In contrast to them, Giacomo, although himself a pitiful 
victim of Amore, refrains from declaring it, nothwithstanding his love for the truth. 

For the attitude of the Notary in this tenzone, see Introduction, p. xxiv. 

Lines 10, 12, 14. For the rime, see Tallgren, 286, 287 note. 


VIII. Con vostro onore 
CDE, CDE. 


Summary. The Abbot, in conclusion, expresses his honor and love for the 
Notary, and his gratitude for the enlightening reply. Giacomo he would compare 
to the month of May, scattering abroad a profusion of sweet flowers. Henceforth 
he will not trouble him with unwelcome riddles of love. 


IX. Lo giglio quand’ é colto 

CDE, CDE. Equivocal rimes through the whole sonnet; cf. Biadene, Morfol., 
P. 155- 

Summary. As the lily fades when broken from its stem, so the poet suffers when 
parted from his lady. Surpassing the love of all other lovers, his heart soars to the 
loftiest heights, and as the eagle overtaking its prey, so is he wounded by Love. 
Woe to him if he ever loved another lady. As soon as he saw her his heart was 
pierced, and will now never cease to love her. 


Lines 2-8. giunta, in 1. 2, “ united ”; in 1. 4, “ joint ”;1. 6, “ reaches,” “‘ comes ”’; 
1. 8, é giunta, “ overtakes.” 
X. Sicome il sol 
CDE, CDE. Equivocal rimes as in Lo gilglio. 
Summary. As the sun penetrates the glass without breaking it, and as the 
mirror’s reflection passes through the eyes, so Love sends his dart through the eyes 


and pierces the heart. Where Love’s arrow strikes it kindles a flame, unites two 
hearts, and fills them with love. 


Liner. For the simile of the sun’s ray cf. Gaspary, p. 100. Spera, 1.1, “ ray”; 
1. 3, “ mirrors ”; 1. 5, “ hopes to,” “ intends to,” “ intends ”; 1. 7, “ expects.” 
14. “ and makes both to be equal in love.” 


XI. Molti amadori 

CDE, CDE. 

Summary. Many lovers keep their passion concealed in their hearts, but this 
the poet cannot do, for, being completely in his lady’s thrall, he no longer has 
command over himself. The man who does not take counsel from his heart lives 
unworthily. He himself is guided only by his lady from without and by a little 
spirit within. 


“—- 


I20 NOTES 


XII. Donna, vostri sembianti 
CDE, CDE. 
In the only Ms., A, this sonnet occurs among nineteen anonymous sonnets, seven 
before it and twelve after it. 


Summary. The poet reproaches his lady for first awakening his hopes by her 
encouragement, and then tormenting him by her irresolution and disfavor. Such 
behavior reveals her ignorance and promises her no happiness in love. 


Lines 7, 8. This obscure passage seems to contain a play on the word penna. 
Inl. 7 penna = pen. What can it mean as applied toa sailor? To-day it means 
“a yard ” (to a sail), also the part of the stern where the sail is made fast. Hence 
the passage might mean: “‘ you have been stingy with your pen, as a sailor who is 
out of his course is stingy with his sail” (lowers his sail); i.e., proceeds cautiously. 


XIII. Ogn’ omo c’ama 
CDC, DCD. 
In B this sonnet is under Giacomo’s name and occurs in a group of his sonnets. 
In A it follows a sonnet by Balducio d’Arezzo, and begins a series of eight anony- 
mous sonnets. 


Summary. Every lover should respect his own honor and that of his lady, and 
beware of revealing too openly the secret of their love; for, once the word is spoken, 
it cannot be recalled, and the man who shows self-constraint in his words is the 
more esteemed. Therefore the poet, when he meets his lady, will hide his feelings, 
and avoid the malicious slander in which men are so prone to indulge. 

See Cesareo’s discussion of this sonnet,! in which he credits Giacomo with origi- 
nality in departing from the conventional chivalrous tone of Provencal poetry, and 
expressing the genuine feelings of the bourgeoisie. 


XIV. All aira chiara 


CDE, CDE. Sonetto a enigmi e antitesi; cf. Biadene, Morfol., p. 172. 

A has the best text in the consistency of the paradoxes and the general clearness. 
B and C follow the same tradition, which was somewhat imperfect; cf. their agree- 
ment in lines 2, 3, 4, 6, 13, 14, and in the order of lines in the sestet. Though 
the attribution of B to Giacomo may be correct, its authority is weakened by the 
fact that the text is so imperfect and that A and C are anonymous. 


Summary. The poet has seen rain fall from a clear sky, the darkness give light, 
fire come from ice and other such marvels, but Love has done even greater things, 
for when wounded, Love healed him with his arrow, the life he gave was the poet’s 
death, the fire which he extinguished now consumes him. 

Compare with this sonnet Bonagiunta’s Dentro da la nieve escie lo foco, B 431, 
Lorenzo de’ Medici’s sonnet Io seguo con desio quel pit mi spiace, and Chiaro’s 
Allegrosi, A 222. 

1 Poes, Sic., p. 280. 


NOTES I2I 


Line 4. This refers to the common idea that the cristal comes from snow and 


then serves as a burning glass; cf. Gaspary, 97. 
10. Love was frequently compared to the lance of Peleus; cf. Gaspary, 102, 103. 


XV. Io m’agio posto in core 
CDC, DCD. 
In the only Ms., A, this sonnet appears after a group made up of anonymous 
sonnets (388-395, 397-399) and one of Bondie Dietaiuti (396). It is immediately 
followed by another of Bondie’s (401), and four anonymous ones (402-405). 


Summary. The poet has set his heart upon serving God so as to win the joys 
of paradise, but without his lady he could not go, as separation from her would 
destroy all his happiness. Not that he would desire in heaven the pleasures of 
sensual love, but only to behold her beauty in the heavenly glory. 

This sonnet, though the central theme was frequently used before, is one of 
Giacomo’s best and most original. In its naive sincerity and warmth of feeling, 
its effective turns of expression, and the skillful use made of the sonnet form we 
have a little early masterpiece, that will bear comparison with the more polished 
and artfully constructed sonnets of a later period. 

For parallels see Nann., i, 123, 124. 


Line 7. nom porzeria gaudire; “ would afford me no joy ” (gaudire here a sub- 
stantive). Observe that the editions, with the exception of Wiese, have poteria 
gaudire, not justified by the Ms. 

Ir. se non veder, “ but only behold.” 

14. ghiora. Interesting popular form of gloria. It was misunderstood by the 
early editors as gioia, which was followed even by Carducci. In Rossetti’s trans- 
lation, which deserves the highest praise, the last line, “To see my lady joyful in 
her place ” might have been more effective if the translator had had gloria before 
him. 


XVI. Lo viso mi fa andare 
CDC, DCD. Sonetto a replicazione e alliterazione; cf. Biadene, p. 159. 


Summary. The poet tells how the incomparable beauty of his lady’s face 
awakens in him the various feelings of love, joy and sorrow, consolation and tor- 
ment. When he speaks to her he feels as though he were entering paradise. 

In this sonnet, though the octave is made monotonous by the excessive repeti- 
tion of viso, the sestet is full of sincerity and naive beauty. See Cesareo, 282. 
Rossetti translates the sestet: — 

What man in living face has seen such eyes, 
Or such a lovely bending of the head, 
Or mouth that opens to so sweet a smile ? 
In speech, my heart before her faints and dies, 
And into Heaven seems to be spirited; 
So that I count me blest a certain while. 


Line 2. rinegare, “ renounce ” (my faith, or my joy). 


-—* 


122 NOTES 


XVII. Lo viso e son diviso 


CCD, CCD (C= A,D = B). Sonetto continuo with replication and equivocal 
rimes; cf. Biadene, pp. 78, 158. 

In a number of obscure variations upon the word viso the poet tells the influence 
of his lady’s face, which, though they are separated, he still beholds in imagination, 
and from which he can never be parted. 

Here is an attempt to paraphrase the sonnet: I behold it and (yet) am parted 
from the face, and by imagination I think I see (it) clearly; therefore I have dis- 
tinguished vision (i.e., imagination) from sight, for it is one thing to see, another 
thing to imagine. And by imagination I look upon such a face, from which I 
cannot tear myself away. I strive (look) to behold what it is by imagination, (that) 
which is nothing else than beholding God. Within my imagination, and by means 
of my imagination, it (this face) is not absent from me, so that it is just like looking 
at the (real) face. Therefore, I constantly endeavor to behold (it). I believe in 
my fancy that from the face I can never be parted, whatever people may think 
(imagine, or say) about it. 


Line 3. divis’ 6; this reading proposed by Monaci in the Correzioni, p. 703. 


XVIII. Si alia amanza 

CDE, CDE. 

Summary. So high is the object of his love that he doubts the outcome, but is 
consoled by the thought that as a gentle wind bends a proud tree, and as soft tears 
can break the diamond, so his amorous torments may bend her pride and kindle the 
fire of love. 

Line 3. gruera, metathesis for guerera = guerriera. 

6-8. Poetical commonplaces of the time. 
7. lo diamante; object. 

10, 11. dureze, alteze, plurals in the Ms., but almost certainly singulars in the 
original, if Giacomo was the author; see note to canz. VI, l. 23. 

11. la vostra alieze; object. 


XIX. Per sofrenza 
CDE, CDE. 
Summary. Great victories are won by patience, as is shown in the story of Job, 
who through his longsuffering obtained a crown in glory. Therefore the poet, 
though the course of his love is not smooth, encourages his heart to patience. 


XX. Certo mi par 
CDC, DCD. 
Summary. A wise lord should begin his rule with severity, so that the evil 
man may fear him and the good man become even better. Thus will he win 
honor and be able to end his rule in leniency. In Love the contrary is seen, for 


- 


NOTES 123 


at first there is no sign of harshness, but the longer one serves him, the more cruel 
he becomes. 

Line 11. fior; “a bit,” “a trace.” 

12. scruopi; metathesis of scuopri; openione; “ way of thinking,” “ disposi- 
tion.” 

13. afe; “ faithfully.” 


XXI. Si como ’l parpaglione 


AasBAa;B, Aa7yBAa;B; CDE, CDE. 

Observe the kind of ritornello in lines 11 and 14, first noted, I believe, by Biadene, 
Morfologia del sonetto, p. 19, note. The poet probably did not intend to rime brama 
and chiama with fiamma, though the scribe spells fiama with one m in I. 13, but not 
inl. ro. This sonnet and no. xxv are the only ones with internal rime among those 
of the whole Frederician group. 


Summary. As the butterfly fearlessly enters the flame, so the poet’s heart, 
unmindful of Love’s burning, has approached his lady and been consumed in the 
sweet fire of passion, finding therein however, like the phoenix, a new life. 

For the butterfly and the phoenix see Gaspary, pp. 99-100, 104-106; Garver, 
Sources of the Beast Similes, pp. 280-282; De Lollis, Gior. Stor., Suppl. 1,94. Cf. 
Chiaro’s I] parpaglione, A 559. 


XXII. Chi non avesse mai 
CDE, CDE. 

From B the text of all the other Mss. is derived directly or indirectly, see p. 
xxxviii. Judging by the number of copies, it was evidently considered one of 
Giacomo’s best. 

Summary. A man seeing fire for the first time would think it a harmless thing, 
but if he touched it, he would feel how it burns. The fire of love has touched the 
poet, and, feeling its burning, he wishes it might kindle also his lady, who treats him 
with coldness and scorn. 

Line 6. be-lli = ben li, ben gli; senbrara; cf. note to C. I, 59. 

9. The repetition of che s’aprendesse reminds us of the artifice of collegamento 
in the canzoni. 

XXIII. Diamante, né smiraldo 

CDC, DCD. 

Summary. Comparing his lady with the diamond, emerald, and other precious 
stones, the poet finds that she surpasses them all in beauty and should rather be 
compared to a star in brightness. Fairer is she than the rose or other flowers; 
may Christ bless her with life, joy, and honor! 

For comparisons of the lady to precious stones cf. Gaspary, 61. See also foot- 
notes to Nann. 

Lines 2, 4, 6, 8. On preziosa, etc., riming with cosa see Tallgren, 300, Parodi, 
Bull., xx, 119, 120. 


wt 


124 NOTES 


4. aritropia, “ heliotrope ” or bloodstone, sometimes called “ girasol.” ‘“ Ac- 
cording to Pliny the stone was so called because when thrown into the water it 
turned the sun’s light falling upon it into a reflection like that of blood ” (Encyc. 
Britann.). In the middle ages it was supposed to make the wearer invisible. 

to. The words in brackets are given in Val. They might just as well have been 
al sol é. 


XXIV. Madonna a’n sé 

CDC, DCD. 

Summary. The poet sings the praises of his lady, who is more precious than 
gems, more radiant than the sun, a very queen among women.’ So perfect is she 
that had the Lord to create her again, he could not equal her present perfections. 

Compare the theme of this sonnet with that of the preceding one. See Gaspary, 
62, 63, and notes to Nann. for parallels. 


XXV. Angelica figura 


AasBAa;B, AasBAasB; CcsDdsE, CcsDdsE. 

This sonnet and no. xxi are the only ones of the early Sicilian repertory that 
have internal rime. In line 10, as the Ms. reads, the internal rime ends the fourth 
syllable, but the line is corrupt and an easy change gives a 5.6 line, like lines 
II, 13, 14. 

Summary. The poet celebrates all the perfections of his lady, her beauty, vir- 
tue, and wisdom. So high is she held in honor that she rules supreme, like the city 
of Rome, over the whole world. 


Line 10. Tallgren (p. 268, note 2) proposed de le bene (plural), so as to change 
the Ms. reading least. 

12-14. Giacomo seems to allude to some lady of the name ‘ Romana’; cf. 
Biadene, Morfol., p. 185. 


XXVI. Quand ’om a 
CDE, CDE. 
In the Ms. this sonnet is preceded by one of Bonagiunta’s and followed by one 
of Guittone’s. 


Summary. When a man has a true friend, he should treat him with the greatest 
loyalty, so as to retain his friendship, for it avails little to gain a friend if one does 
not know how to keep him. Many regard friendship as an opportunity for secret 
plunder, but such an opinion is intolerable. 

Observe the didactic tone of this sonnet, the only one of Giacomo’s that is not 
amorous in its theme. In the sonnets by the whole group of Frederician poets 
there are only four others that are not amorous.” 


1 Finalmente sembra che Giacomo . . . anche tentasse la poesia non amorosa: il son. Quand’ 
om & un bon amico leiale & ammonitivo e morale, in quel téno borghese che piacque tanto al Notaro 
ne’ suoi ultimi anni; e vi si ragiona de’ doveri dell’ amicizia. Cesareo, Poes. Sic., 283. 

2 Cf. Repertory, pp. 517, 518. 





NOTES 125 


Line 3. rar si corto de liale, “ treat so unfairly, disloyally.” 
12. Be-lli = ben li, ben gli. 


XXVII. Or come pote 

CDC, DCD. 

A’s attribution of this sonnet to Giacomo is not disputed by any other Ms., 
but the rime series sone (sunt), vone (vado), done (dono), pone (ponit) is Tuscan 
and not Sicilian, so we must conclude that the attribution in A is possibly incorrect. 
See Tallgren, 292. 

Summary. The poet wonders how his lady can pass through his eyes into his 
heart without leaving a trace, but he explains the miracle by comparing her to a 
light passing through a glass. An enclosed light shines forth without breaking 
the glass; likewise his lady’s image passes through his eyes and becomes imprinted 
on his heart, inspiring him to new love. 


XXVIII. Lo badalischio 

CDE, CDE. 

The three Mss., A, B, and F, are independent. G, though not a direct copy of 
B, follows the same tradition. The attribution of B to Giacomo has more weight 
than that of the later F to Monaldo, about whom nothing is known, and whose 
name appears in no other Ms. 


Summary. The poet, in the power of love, compares himself to the basilisk, 
the swan, the peacock, and the phoenix; for beauty lures him to destruction, his 
song is clearest when he is near to death, in his joy he is suddenly perturbed, and 
in the fire of love he comes to new life. 

The line order in A and F has the advantage of making the order of ideas in the 
sestet correspond with that of the octave. For the comparisons with animals and 
the strange ideas of the bestiaries see Gaspary, Scuola Siciliana, pp. 104 ff., the notes 
to Nann., pp. 93, 117, 118, and Garver, 280-282. 


Lines 5, 6. Cf. Brunetto Latini: “Tant comme il voit les homes et que il 
remirent sa biauté, il dresce la coe contremont por avoir le los des gens . . . et 
molt desprise la laidor de ses piez.”” Tresor, pp. 219, 220. Cf. also Di penne di 
paone, App., p. 135. 

7,8. Cf. Chiaro’s De la fenice, A 558. 


XXIX. Come larcento 

CDE, CDE. 

The question of authorship is difficult to decide. Both Mss. are excellent and 
differ very little from each other, but A is much better in the reading of the last 
tercet. Of Petri Morovelli we know nothing beyond the fact that he was a Floren- 
tine and that there are, besides this sonnet, two canzoni under his name in codex A 
(175, 176). They are similar in theme to this sonnet, but that would prove little or 
nothing. The rimes afford no important evidence. 


126 NOTES 


Summary. As the quicksilver flees from the fire, so the color leaves the poet’s 
face when he approaches his lady to entreat her favors. Hence, in his timidity, 
he will lose the joy of love if she does not act like the gracious lord, who, before a 
petitioner asks a favor, perceives what is desired. Though he fears that asking 
her favor with his lips may harm his cause, yet his heart is continually in suppli- 
cation. 


XXX. Guardando badalisco 
CDC, DCD. 
F differs very slightly from B, except inl. 14. All the other Mss. are derived 
directly or indirectly from B (see p. xxxviii). As the authority of F is not to be 
compared to that of B, the attribution to Giacomo is probably correct. 


Summary. Love is compared to the basilisk, the asp, and the dragon in the way 
he overpowers and torments the heart; for like the basilisk he conquers by a look, 
like the asp he cunningly instills his poison, and like the dragon he proudly holds 
and destroys his prey. 

For animal references see Gaspary, 105, and Nann., notes, pp. 118, 119. 


Lines 1, 2. Cf.: “ et ce est cil qui de son odor ocist les oisiaus volanz, et de sa 
veue tue les homes quant il les voit,” Brun. Latini, Tresor, p. 192. 

3, 4. In addition to the parallels in Nann., 119, we add the following from 
Brunetto, who names various kinds of asps: “ toutes voies chascuns a une proprieté 
de malfaire; car cil qui est apelez aspides fait morir de soif l’ome cui ele mort; et 
li autres, qui a non prialis, le fait tant dormir que il muert; et la tierce, qui est 
appelée emorroi, li fait fondre tout son sanc jusqu’a la mort,” etc., Tresor, p. 191. 
See also Garver, 280-282. 

5, 6. Brunetto Latini says, speaking of the dragon: “ Et il a si grant force que 
nuls, comment que il soit grans ou fors, se li dragons l’estraint de sa coe, qu’il en 
puisse eschaper sans morir;”’ Tresor, p. 193. 


XXXII Fin amor di fin cor 

CDC, DCD. 

Though Trucchi, followed by Baudo, assigns this sonnet to Giacomo, there is 
apparently no Ms. authority for it. Such a form as penza is Sicilian, but was used 
by imitation in Tuscan poetry. Trucchi was probably misled by the long series 
of Giacomo’s sonnets in this part of the Ms.: nos. 327, 329, 333-336. No. 337 is 
anon. The sentiment suggests a later school. 


XXXII. Tanto sono temente 

CDE, CDE. 

Here again the early editors seem to have arbitrarily assigned to this sonnet the 
name of the poet nearest in the codex. This piece (A 364) is preceded by six 
anonymous sonnets, but followed by one bearing Giacomo’s name (Donna, vostri 
sembianti). 


1 For the unauthentic sonnets no summaries are given. 


NOTES 127 


XXXII. Segnori, udite 

CDC, DCD. 

The attribution of A to Jacopo da Leona, supported by the reference to “ il 
Barbuto ” (Rustico di Filippo) in 1. 2, is enough to disprove the attribution of the 
early editors, who were probably misled by the similarity of name. Cf. Federici’s 
edition of Rustico di Filippo, page x. 


XXXIV. Amor m’ auzide 
CDC, DCD. 
Again Allacci was doubtless misled by the similarity of name, and we must give 
full credence to the attribution of the Ms. (Jacopo da Leona). 


XXXV. Due cavalieri 
CDC, DCD. 
Cod. L is here certainly wrong, as this sonnet and the following form a tenzone 
and could not be by the same poet. The attribution of A for both is almost un- 
questionably correct. 


XXXVI. Da che ti piace 
CDC, DCD. 
See note to preceding sonnet. 


XXXVI. Pegli occhi miei 

ABBA, ABBA; CDC, DCD. 

For this sonnet and the following one there is no Ms. authority in favor of 
Notaro Giacomo. The rime order! and the style, moreover, are not those of the 
time of Giacomo da Lentino. It would seem that the partial name given in H 
(“ Jacopo ””) was to blame for the error. 


XXXVIII. Amore, gli occhi 
ABBA, ABBA; CDD, CDC. 
See note under XXXVII. 


XXXIX. Re glorioso 

ABBA, ABBA; CDE, EDC. 

This sonnet is most certainly not by Giacomo, first by reason of its form, unknown 
among the early poets; secondly, judged by the sentiment and the general style, 
which are more probably of the dolce stil nuovo. Borgognoni, trusting to Trucchi, 
showed from this sonnet how similar the thought and expression of the Notary 
could be to that of the time of Guido Cavalcanti (Nuova Antol., 1886, p. 606). 


1 No sonnets of Giacomo’s time have the quatrain form ABBA; cf. Repertory, p. 518. 
2 I have not succeeded in obtaining the variants of the Ms. 








4 


oe 
s 


aa. 


* 
a"... 


S or) 








APPENDIX 


DocuMENTS 


I 


Béhmer-Ficker, 2017. Copy of Boéhmer, Acta imperii selecta, no. 301; cf. 
Zenatti, A. Testa, pp. 3, 4. See Introduction, p. xv. 

Fridericus dei gratia Romanorum imperator semper augustus, Ierusalem 
et Sicilie rex. Cum inter cetera beneficia-que coniunctis sive benemeritis 
collocantur, illud redundet uberius in gratiam conferentis, quod pater elargi- 
tur filio, non indigne illos providimus beneficiorum primitiis honorare, quos 
etiam preter obsequii merita imperiali gratie gratos efficit favor nature. 
Inde est igitur quod nos inspecto pure dilectionis obtentu qua pater filium, 
sicut innate beneficio gratie una persona censetur, dignis tenetur premiis 
ampliare, de paterne benivolentie et provisionis affectu concedimus, damus 
et tradimus tibi regi Conrado benemerito filio nostro et heredibus tuis in 
perpetuum civitatem nostram Gaiete cum omnibus pertinentiis, iustitiis et 
rationibus suis. Concedimus etiam et damus tibi vasallos cum omnibus 
terris, villis et castris eorum, Rogerium de Gallutio, Raynonem de Prata, 
dominos Popleti, Theodinum de Amiterno, Conradum de Lucinardo et 
omnes alios barones, qui tempore turbationis inter nos et ecclesiam mote 
contra nos ipsi ecclesie adheserint et usque hodie sub forma pacis existunt, 
salvo servitio quod exinde curie nostre debent et salvo mandato et ordina- 
tione nostra. Ad huius autem concessionis et donationis nostre memoriam 
et robur perpetuo valiturum presens privilegium PER MANUS JACOBI DE 
LINTIN NoTARM et fidelis nostri scribi et bulla aurea typario nostre maies- 
tatis impressa iussimus communiri, anno, mense et indictione subscriptis. 

Datum apud Policorum, anno dominice incarnationis m. cc. xxxiii, mense 


i 


B.-F., 2020. Copy of Huillard-Bréholles, iv, 436. See Introduction, p. xv. 


Fridericus Dei gratia Romanorum imperator, semper augustus, Jerusalem 
et Sicilie rex. Per presens scriptum notum facimus universis fidelibus nos- 
tris tam presentibus quam futuris quod nos attendentes fidam puram, 
devotionem laudabilem et accepta servitia que tu Bernarde, venerabilis 
Panormitane archiepiscope, dilecte familiaris et fidelis noster, celsitudini 
nostre semper exhibuisti et exhibes incessanter, recepta a te et ecclesia 
Panormitana domo quam apud Messanam ante palatium nostrum pro parte 
ipsius ecclesie tue habebas, concedimus et donamus tibi, successoribus tuis 
et ecclesie Panormitane in perpetuum in causam permutationis pro eadem 

131 


ae 


132 APPENDIX 


domo vineam de Comitaria quam olim Temonerius, filius quondam Joannis 
Miscitata, proditor noster, tenuit apud Messanam in flumaria de Camaris 
cum omnibus pertinentiis suis: que vinea cum bonis omnibus dicti prodi- 
toris nostri, pro commisso crimine juste dampnati, fuit ad nostram curiam 
devoluta; ut tu et successores tui perpetuo vineam ipsam habeatis et possi- 
deatis absque ullo servitio et faciatis de ea et in ea quod vobis et ecclesie 
Panormitane utile videatur, salvo mandato et ordinatione nostra. Ad 
hujus autem concessionis et donationis nostre memoriam et perpetuam 
firmitatem, presens scriptum fieri et sigillo majestatis nostre jussimus com- 
muniri, anno, mense et indictione subscriptis. 

Datum Messane, anno dominice incarnationis millesimo ducentesimo tri- 
cesimo tertio, mense junii, sexte indictionis, imperante domino nostro 
Friderico Dei gratia invictissimo Romanorum imperatore semper augusto, 
Jerusalem et Sicilie rege, anno imperii ejus quartodecimo, regni Jerusalem 
octavo, regni vero Sicilie tricesimo quinto, feliciter. Amen. 


iil 


B.-F., 2022. Copy of Cod. Vat. lat., 8201 f. 7* (Garufi, Archivio Stor., 
5* serie, Xxxiii, p. 402). 
Catania, 1233, Giugno, Ind. VI. 

Fridericus Dei gratia Romanorum Imperator semper Augustus, Iehru- 
salem et Sicilie Rex. Si loca religiosa et personas Deo famulantes in eis 
oculos pietatis benigne respicimus, quantum ad presentis vite cursum nobis 
providimus ad gloriam et ad salutem eternam consulimus in futurum. 
Inde est quod nos attendentes laudabilem conversationem et honestam 
vitam Macarij venerabilis electi et monachorum monasterij sancti Salvatoris 
de Lingua Messane fidelium nostrorum, considerantes etiam fidelia et devota 
servitia, que ijdem fideles nostri Maiestati nostre dudum fideliter et devote 
exhibuerunt, et que exhibire poterunt de bono in melius gratiora de solita 
et innata munificentia nostra gratia confirmamus eis privilegia felicium 
Regum predecessorum nostrorum, Regis Rogerij, Guillelmi primi et secundi, 
necnon privilegia divorum augustorum parentum nostrorum Imperatoris 
Henrici et Imperatoris Constantie memorie recolende ipsi monasterio per 
eos olim indulta, cum omnibus que in eisdem privilegiis continentur, salvo 
mandato et ordinatione nostra. Ad huius autem confirmationis nostre 
memoriam et robur perpetuo valiturum, presens privilegium per manus 
IacoBI DE LENTINO notarij et fidelis nostri scribi et bulla aurea tipario nostre 
Maiestatis impressa iussimus communiri. Anno, mense et indictione sub- 
scriptis. 

Datum Cathanie, anno dominice incarnationis Millesimo ducentesimo 
trigesimo (sic) tertio, mense iunij, sexte indictionis, imperante domino nostro 

1 H.-B. (IV, 438) got his version from Prrrt, Sic. Sacra, ediz., Mongitore, II, 982: “ cost irto d’errori 
e di lacune tanto gravi, specie nell’escatocollo, che si potrebbe senz’altro, nella maniera come é stato 


pubblicato, dichiarare falso,”” Garufi, 402. See Introduction, p. xv. Cf. Zenatti, A. Teste, pp. 4, 5; 
Torraca, Studi, p. 88. 


APPENDIX 133 


Friderico, Dei gratia, invictissimo Romanorum Imperatore semper Augusto, 
Iehrusalem et Sicilie rege gloriosissimo, anno imperij eius terciodecimo, regni 
Tehrusalem octavo, regni vero Sicilie tricesimo quinto, feliciter, Amen. 


IV 


B.-F., 2029. Copy of Béhmer, Acta Imp. Sel., p. 266, No. 302. Cf. p. xvi. 


Sanctissimo patri suo, domino Gregorio dei gracia sancte Romane ecclesie 
summo pontifici et universali pape, Fridericus eadem gracia Romanorum 
imperator semper augustus, Ierusalem et Sicilie rex, salutem et obsequium 
filiale. Etsi debita solvere et promissa complere sit omnibus debitoribus 
debitum et principum maxime principale, in his tamen pre ceteris promptius 
fidem debemus attendere, que illo plerumque interveniente promittimus, qui 
illius actoris fidei vicem gerit, in quem nota perfidie non descendit. Recolen- 
tibus igitur nobis, reverentissime pater, nos per virum providum et experta 
nobis sinceritate fidelem, H. magistrum domus sancte Marie Theutonicorum 
in Ierusalem, ad hoc procuratorem nostrum specialiter ordinatum, de prin- 
cipum nostrorum consilio, Henrici etiam karissimi filii nostri, illustrissimi 
Romanorum regis, concurrente consensu, compromisso facto sollempniter 
promisisse, ratum habere et inviolabiliter observare, quicquid super infra 
scripta discordia, qua inter nos et aliquas de universitatibus Lombardie, 
inimico pacis super seminante zizaniam, vertebatur, quarum nomina in 
ipsius compromissi serie continentur, apostolice sedis provisio duceret provi- 
dendum, venerabilibus viris I. Prenestino electo et O. sancti Nicolai in 
Carcere Tulleano, diaconis cardinalibus et apostolice sedis legatis, recipienti- 
bus pro se et sancte Romane ecclesie nomine compromissum, procedente 
eciam, prout per litteras vestras accepimus, super hoc paternitatis vestre 
decreto, tam sincero quam iusto fratrum vestrorum communicato consilio, 
ut proinde universitates ipse ad honorem dei et ecclesie sancte sue et nos- 
trum in quingentis militibus teneantur sub expensis suis pro terre sancte 
subsidio per biennium exhibendis: nos provisionem ipsam pro parte nostra 
et prefati Henrici Romanorum regis, karissimi filii nostri, ratam et firmam 
habemus, utpote qui pro firmo disponimus in omnibus viis nostris vestris et 
fratrum vestrorum dispositionibus filialiter obedire. Remittentes prout de 
providentia et ordinatione vestra processit, universitatibus ipsis et locis 
super quibus apostolice sedis processit provisio, et quorum nomina in com- 
promissi serie continentur, nec non et marchioni Montisferrati, qui infra 
statutum a partibus terminum compromisisse probatur, omnes iniurias et 
offensas, quas contra nos, filium nostrum et principes commisisse videntur 
impediendo curiam nostram hac ultima vice apud Ravennam indictam, 
principibus ad curiam ipsam venientibus iniurias irrogando, prenominato 
filio nostro ad nos venire volenti aditum precludendo. Eisdem etiam ran- 
corem omnem et malivolentiam relaxamus, universaliter singulos et singu- 
lariter universos in plenitudinem gratie nostre et sepedicti filii nostri recipi- 
mus, eos restituentes in integrum, bannis omnibus et sententiis ob predictas 


el 


134 APPENDIX 


offensas indictis in irritum revocatis. Si que etiam per ipsos interim gesta 
sunt, debitum robur obtineant, quod alias de iure obtinere deberent. Ad 
huius autem rei memoriam et perpetuam firmitatem presentes litteras 
patentes PER MANUS IACOBI NOTARI et fidelis nostri scribi iussimus, maiesta- 
tis nostre typario insignitas, anno, mense et indictione subscriptis. 

Datum apud Castrum Ioannis, millesimo ducentesimo trigesimo tercio, 
quartodecimo mensis augusti, indictionis sexte. Feliciter. Amen. 


Vv 
B-F., 2953. April 3, 1240. Copy of H.-B., V, 880. Cf. p. xviii. 


De imperiali mandato facto . . . scripsit Laurentius. 

Fridericus, etc., G. de Anglono justitiario Sicilie citra flumen Salsum, etc., 
Licteras, etc. Quia vero ad presentiam nostram es venturus in brevi, prout 
tibi dedisse recolimus in mandatis, respondere tibi ad singula usque adeo 
distulimus quo presentialiter audias nostrum exinde beneplacitum et man- 
datum. Mulum datum nobis a Guillelmo Pedevillano ! et mulam donatam 
nobis similiter ab abbate Sancti Petri de Regio quos tu ad curiam nostram 
misisti, curia nostra recepit PER PREDICTUM NUNTIUM TUUM JACOBUM DE 
LENTINO, et de aliis tribus mulis tibi mictitur apodixa. 

Datum Lucerie, iii, aprelis, xiii indictionis.? 


VI 
B.-F., 3077. Copy of H.-B., V, 964-65. 
Ortae, 3 maii (1240). Fredericus, etc., Oberto Fallamonacho. ... Cum 


pro munitione castrorum nostrorum velimus necessaria ministrari, fidelitati 
tue precipiendo mandamus quatenus ad requisitionem Guerrerii de Franco 
procuratoris castrorum nostrorum in Sicilia ultra flumen Salsum et Johannis 
Vulcani de Neapoli provisoris castrorum nostrorum citra flumen Salsum, 
victualia [et] pecuniam necessariam tam pro solido quam aliis oportunis de 
pecunia curie nostre que est per manus tuas, exhibere procures. 


1 Guillelmo Pedevillano. Mentioned in B.-F., 2950 (= H.-B., v, 877) as connected with the new 
works at the fort of Messina. Other mentions of him in H.-B., v, 721, 722, 877, 878, would point to 
his being a contractor. . 

2 On the matter of commissioning mules and having them sent to the Emperor per nuntium, see 
H.-B., v, 672: “ac eos (mulos vel mulas ad sellam) sine mora per specialem tuum nuntium ad pre- 
sentiam nostram mictas, tales missurus quod in eis tuum studium commendemus.” 

That the suntius was sometimes a notary is shown by H.-B., v, 759. “ Lator notarius Symon 
nuntius G. de Anglone.” (Notice, the same G. de Anglone that Jacobus served as muntius.) 

N. B. — Roggerius de Amicis was justitiarius Sicilie ultra flumen Salsum in 1240, when Guillelmus 
de Anglone was justit. Sic. citra fl. Salsum. See H.-B., v, p, 860 about this G. de Anglone. 


APPENDIX 135 


vil 


Copy of Document of 1240 discovered by Garufi. 


“Tl documento appartiene al Tabulario di S. Maria delle Moniali di 

Messina.” Garufi, p. 403. 
Messina, 5 Maggio 1240, Ind. xiii* 

Alla presenza di Guglielmo de Leontino, giudice di Messina, e dei testimoni 
Riccardus Chiriolus, Iacobus de Lentino domini Imperatoris notarius, 
Magister Nicolaus de Maraldo, notarius Obizo de Girardo e Alexander de 
Magistro Rigo, sull’istanza di Frisenda abbadessa del Monastero delle 
Moniali pure di Messina, attesta che fu transuntato dal greco in latino un 
privilegio di Guglielmo I, an. m. 6665 (1157 e.v.) Gennaio Ind. V* Behring. 


Vill 


Sonnet in which Bonagiunta da Lucca is satirized as a plagiarist of the 
Notary. Ms. A682; H120; Mon.309. In Ms. A the attribution, Chiaro 
Davanzati, is written by a hand different from that of the copyist of the 
sonnet. In Ms. H it is preceded by these words: “‘ Questo mand6é maestro 
Francesco a ser Bonagiunta da Lluca.” Cf. Introd., pp. xx and xxi. 


[Ms. A] 


Di penne di paone e d’altre assai 
vistita la corniglia a corte andau, 
ma gia no lasciava per cid lo crai, 
e a riguardo sempre cornigliau. 
Gli auscelli che la sguardar molto splai 
de le lor penne ch’ essa li furau; 
lo furto le ritorna scherne e guai, 
ché ciascun di sua penna la spoglau. 


Per te lo dico, novo canzonero, 
che ti vesti le penne del Notaro 
e vai furando lo detto stranero; 
si co’ gli asgei la corniglia spogliaro, 
spoglieriati per falso menzonero, 
se fosse vivo Jacopo Notaro. 


1 See Introduction, pp. xv and xviii. 





2 ‘Al gd af J 
oi ah (aie 








GLOSSARY 


(r. = in rime) 


A 
abento: quiete, riposo, C. xv, 17, 44; 
XXI, 50. 
abenuto: avvenuto, S. XXVIII, 9. 
abrazata: abbracciata, C. vu, 19. 
acaita: compra, S. VI, 13. 
acede: accede, si avvicina, C. m1, 29. 
adesa (= adessa): sempre, C. XxI, 25. 
adire: udire, C. xvi, 12; S. vm, 5. 
adivenire: avvenire, D. 4. 
adivien: avviene, S. VI, 10. 
adoblan: raddoppiano, C. xv, 12. 
adomanda: domanda, C. VI, 9. 
adorneza, adorneze: adornamento, bel- 
lezza, C. vi, 25; x1, 48; XXI, 20. 
adovegna: accada, C. XI, 52. 
de: ha, C. Iv, 3; XVI, 35. 
afesi: offesi, C. vm, 14. 
affar: contegno, importanza, C. xm, 8; 
XX, 15; 77- 
afinare: raffinare, C. xxt, 1, 3, etc.; 
terminare C. xxm, 51. 
afranto: spogliato, C.xv1, 27; S. xxxu, 8. 
agenza: piace, C. xx, 33; D. 117. 
agenza, s’: s’abbellisce, C. XVI, 51. 
aghila: aquila, S. rx, 8. 
agia: abbia, C. m, 24; XW, 15, etc. 
agio: ho, C. 1, 46; VI, 9, etc. 
agrata: aggrada, piace, C. Iv, 34. 
Agri: Agri, river in Basilicata, C. vm, 4. 
aguila: aquila, S. xvm, 3. 
aia: abbia, S. xm, 13. 
aio: ho, C.1, 24; x1v, 21, r.; S. Iv, 5. 
Gira, airo: aria, S. vil, 6; XIV, I. 
airato: irato, C. VI, 34. 
ditare: aiutare, C.1, 4; S. XXXVI, 9. 





albor: albero, S. xv, 6. 

alcidete: uccidete, C. rx, 25. 

alegrere: allegrare, D. 136. 

alente: aulente, D. 30. 

allegranza: allegrezza, C. x, 8, 12; XI, 
29, etc. 

a-llor: a’ loro, C. vi, 41. 

allungiato: allontanato, C. x, 17. 

alore: aulore, odore, C. v1, 22. 

alorito: odoroso, S. vim, 7. 

alumare: accendere, C. 1, 25; XVI, 60, 
etc. 

alungare: allontanare, C. vil, 9, 13; 
XIV, 28, etc. 

amanti: amante, C. Ix, 14. 

amanza: amore, C. XII, 67; XX, 3, etc. 

amar: amarono, D. 46. 

amare: amaro, S. xIv, 6. 

amareare: rendere amaro, S. XIV, 5. 

amistanza: amicizia, C. VI. 19. 

amistate: amicizia, amore, C. m1, 49; S. 
XXVI, 9. 

amortare: smorzare, C. XX, 52. 

ancidere: uccidere, C. XII, 59. 

ancor: ancorché, C. 1, 27; XVU, 23, etc. 

ancosciare: angosciare, C. I, 42. 

anti: anzi, C. IV, 43; XU, 17, etc. 

antra: altra, C. 1m, 12. 

aparegiare: paragonare, S. xxIv, 8. 

apostare: fingere, C. xx, 39. 

aprendere: appigliare, S. XXXVI, 14. 

aprendersi: afferrare, C.1, 48; pigliare, 
S. xxu, 8, 9; di foco——: prender 
fuoco, S. X, Io. 

apresentare: presentare, C. Il, Io. 

apreso: istruito, C. Xml, 39; XVM, 34. 


139 


140 


aprovo: provo, dichiaro, S. xx, 14. 

ara: aria, C. xm, 27. 

arcento: argento, S. XXIXx, I. 

ardere: bruciare, C. 0, 28, 32; XVI, 56; 
S. XXVI—I, 7, etc. 

arditanza: ardimento, C. rv, 8, 9. 

arendo: rendo, C. xvi, Io. 

argoglia, argoglio: orgoglio, C. vim, 44; 
XII, 39. 

argoglia,s’: diventa orgoglioso, C. vim, 47. 

aritropia: elitropia, S. XXII, 4. 

aro: aria, C. xu, 61, r. 

arosa: bagna, irrora, D. 31. 

arzente: ardente, S. XIV, 3. 

ascio: agio, C. XIX, 29. 

asconda: nasconda, D. 205. 

ascoso: nascosto, C. m1, 17, 30; D. 36. 

asenblo: assomiglio, S. Xxx, 7. 

asigura: assicura, S. XXI, 5. 

asimigliato: assomigliato, S. vm, 9. 

astore: falco ammaestrato, C. xxi, 42.. 

atalenta: piace, C. Xm, 55. 

aucidere: uccidere, C. Iv, 48; D. 22, etc. 

audire: udire; audivi: udii, C. 1, 27, r.; 
VI, 32, etc. 

aunore: onore, C. XXI, 21, 25. 

ausgello: uccello, C. xxu, 38; S. XXVIII, 7. 

autro: altro, S. XxIII, 9; XXIV, 6, 7. 

auzide: uccide, S. xxxtv, 1. 

avantare: vantare, C. 1, 3, 4. 

avanza; da avanti, C. XIX, 9; sorpassa, 
supera, S. XXII, 9, etc. 

ave: ha, C. 1, 49; XII, 38; XVI, 25, etc. 

avegnache: benché, S. XXXVI, 5. 

avenanteze: avvenenza, bellezza, C. xu, 
44, Lis SC HRN; 8 Ts 

avenanti: avvenenti, C. xVI, 20. 

avene: avviene, C. I, 33; V, 21. 

avenimento: avvenenza, grazia della per- 
sona, C. vill, 19; venuta, D. 141. 

avisatore: avvisatori, D. 52. 

aviso: avvedimento, immaginazione, S. 
XVH, 2, 5) 7; 9) 12. 

avoglia: invoglia, C. xxm, 16. 

avragio: avrd, C, XI, 55. 





GLOSSARY 


B 
badalischio: basilisco, S. xxvmi, 1. 
baglia: balia, C. xvi, 43, ©. 
bailia: balia, C. x, 21. 
ballia: balia, C. v, 37; vu, 23, etc. 
bandire: nominare pubblicamente, C. rv, 
40. 
bandita: bando, pubblicazione, C. rv, 41. 
basalisco: basilisco, S. Xxx, I. 
basciare: baciare, C. xIv, 3, 9, etc. 
basciari: baci, C. vu, 20. 
be-lli: ben gli, S. xxm, 6; XXvVI, 12. 
be-llo: ben lo, C. v, 32. 
be-ll’6: ben Vho, D. 43. 
bellore: bellezza, C. xvim, 2. 
benenanza: benessere, C. XXI, 2. 
bieltd, bieltate: belta, C. xm, 33; xvu, 8. 
blasimare, blasmare: biasimare, C. 1, 47; 
XX, Q, etc. 
blonda: bionda, S. xv, 6. 
brondo: biondo, C. rx, 46; x, 35. 


> 
ca: che, C. 1, 28, 78, etc. 
cd; perché, C. m1, 16; vi, 40, etc. 
cad: che, S. v, 3; ché, S. rv, 3. 
cdmpane: se ne salva, C. I, 53. 
cannoscente: colto, saggio, C. XV, 24. 
canoscenza: conoscenza, C. xxI, 21; D. 
II5, etc. 
caonoscente: conoscente, colta, C. XxXI, 29. 
caro: scarsita, S. x1, 7. 
casone: male, pericolo, C. x1, 60. 
cavelli: capelli, S. Iv, 4. 
cecer: cigno, S. XXVIII, 3. 
celato, in: di nascosto, C. vi, 6. 
cera: faccia, aspetto, D. 5. 
ched: che, C. 1, 50; It, 3, etc. 
cherere, cherire: chiedere, C. Vi, 7, ¥.3 
XVI, II, etc. 
chiacenza: piacere, D. 116. 
chiarura: splendore, S. xx1, 6. 
chito: quieto, C. 1, 39, Fr. 
chit: pit, S. rx, 10. 
clamare: chiamare, C, Il, 1, 2. 


GLOSSARY 


co’: con, C. X, 19; xv, 11; D. 67; S. 


XXXI, 13 etc.; come, C. 0, 13. 

cocere: ardere, S. xx, 2, 6, 8. 

colta: raccolta, questua, decima, S, 
Xxxii, 8. 

com: con, S. XIV, II. 

compimento, a; a perfezione, C. xx1, 56. 

complita: compiuta, D. 104. 

con: come, C. vit, 27; S. XIX, 3. 

conenza: comincia, C. v, 28, r,; XVII, 43. 

confortamento: conforto, C. xv, 25; D. 
140. 

coninciamento: principio, C. vu, 1. 

coninzare: cominciare, C. Iv, 16, 18, etc. 

conoscianza, conoscenza: sapienza, C. Iv, 
453 V, 8, 35, etc. 

conpimento: amore perfetto, C. x1, 42. 

conplimento: perfezione, S. xxrv, 11. 

conprobata: comprovata, S. xxv, I. 

conquidere (p.p conguiso): vincere, D. 
177; S. XXX, 10, 14, etc. 

conta: gentile, S. xxm, 11. 

contastare: contrastare, S. v, 9. 

contendenza: contesa, C. Vv, 17. 

conteze: intimita, C. xxm, 44. 

contraria: contraria, contrasta, C.v, 22, r. 

contraro: contrario, S. Xx, 9. 

contrata, a la vostra: al vostro incontro, 
quando vi incontro (?); or, nella vos- 
tra contrada (?), S. xm, ro. 

convenente: stato, condizione, modo, C. 
Vil, 27; contegno, S. v, 3. 

convenenza: convenienza, C. V, 9. 

convente: promessa, C. XV, 27. 

convento: promessa, C. xv, 28. 

coragio: cuore, C. XVI, 6; XX, 47, etc. 

coraio: cuore, C. XIV, 25, r. 

coralmente: di cuore, C. 1, 23; S. VI, 5. 

cordoglienza: cordoglio, C. xiv, 14. 

cordogliosa: addolorata, C. Iv, 20. 

corina: cuore, C. VI, 10. 

corrotto: dolore, lutto, C. xm, 34. 

coverta, per: simulatamente, per simu- 
lare, C. v, 14. 

cozi: urti, C, xm, 66. 





I4I 


creo, creio, crio: credo, C. 1, 64, 68; xrv, 
38, etc. 

croia: (cruda), dura, D. 197. 

curale: corale, cordiale, D. 79. 

cust: cosi, C. vit, 38. 

custumato: usato, C. VI, 5. 


D 

daia: dia (dare), C. x1, 54, r. 

danagio: danno, C. xx, 72. 

da poi (che): dopo che, S. x, 10; quando, 
S. XxvI, 6, etc. 

daze: dazio, S. xxxm, 8. 

de: di, C. IX, 32; X, 20, etc. 

dé: deve, C. xvmt, 43; S. 1, 7; XXXVI, 4. 

dea: debba, D. 135; S. xx, 1. 

degio: devo, C. Vl, 12; X, 10. 

deo: devo, C. XxIl, 17. 

desperi: disperi, C. IX, 31. 

devisare: vedere (cf. divisare), S. xvu, 8. 

dia: giorno, C. v, 6; XH, 54. 

dicesse: dicessi, C. I, 35. 

difesa: vietata, C. XV, 33. 

dignitate: dignita, S. xrx, 2. 

diletamento: diletto, C. vu, 22. 

dilettans’, diletanza: diletto, C. rx, 41; 
D. 28. 

dimorare: restare, essere, C. X, 21, 23; 
XIV, 31. 

dipartiré: spezzare, S. X, 8; XXXVII, 13. 

diranca: schianta, C. xIm, 50. 

disascio: disagio, C. x1x, 28. 

disconoscenza: sconoscenza, C. V, 11; 
S. XI, 9. 

discoraia: scoraggia, C. XI, 51, ©. 

discredo: dubito, D. 133. 

disdutto: diletto, divertimento, C. xu, 35. 

disiare: desiderare, C. VII, 45; XII, 2, 
etc. 

disio: desiderio, C. 1, 60; I, 19, etc. 

disioso: desideroso, C. IV, 1; XIV, 30, etc. 

disiro: desiderio, C. XIV, 15, 21. 

dismaruto: smarrito, S. XXVIII, 12. 

distretto: costretto, legato, C. 1, 22; XIII, 
22, etc. 


142 


distringe: avvince, lega, costringe, C. 1, 
2; X, 14; XIU, 47; S.1, 6. 

divisare: descrivere, mostrare, C. XXI, 4; 
S. xxv, 7; immaginare, S. xvU, 4, 14; 
dividere, S. xvu, 6. Cf. devisare. 

dobiata: raddoppiata, S. xxv, 2. 

doglia: si doglia, C. xvI, 55. 

doglienza: dolore, rammarico, C. Vv, 1; 
XVI, 17. 

dolenti: s’addolori, D. 160. 

dolze: dolce, C. vit, 20; X, 16, etc. 

dolzore: dolcezza, dolce, C. VII, 34; 
56, etc. 

domino: dominio, S. XxI, 7. 

donao: diede, C. xrx, 7. 

donare: dare, C. 1, 62; D. 115, etc. 

done: do, S. xxvu, 6, rf. 

donqua: dunque, C. XI, 31, 37. 

dormentare: dormire, D. 178. 

dotanza, dottansa: paura, C. Iv, 40; 
23, etc. 

dotare, dottare: temere, C. Iv, 6, 
1X,'7, €tc. 

doverite: dovrete, D. 214. 

dubitanza: dubbio, C. x1, 6. 

dui: due, C. XI, 17; XIV, 9, etc. 

dumque: dunque, S. xu, 5, 12. 

dunqua: dunque, C. 1x, 55; XX, 69. 


xi, 


353 


E 

e’: io, C. Xvi, 2. 

e’: ebbi, C. xv, 18. 

e’, ello, elli: egli, C. 1, 4; XII, 24; 
37, etc. 

encalza: incalza, S. xvim, 5. 

encendi: ardi, C. vu, 11. 

éne: @, C. XI, 25. 

entra: entrano (?), S. vit, 14. 

eo: io, C., 1, 9, 21, etc. 

erranza: errore, incertezza, C. x1, 3. 

errore: perplessita, C. xx, 4. 

este, est’: é, C. INE, 10,253" VI, 333° XIX, 
31, etc. 

esto: questo, C. v1, 19; D. 24; S. xxxv1, 
4. 


xX, 





GLOSSARY 


F 

face: fa, C. 1, 44; 1, 42; XI, 24. 

faglia: fallo, C. xvi, 44; xvm1, 37. 

faitemi: mi fate, C. rx, 26. 

falisone: fallo, inganno, S. xx, ro. 

fallagio: inganno, C. vu, 34. 

fallanza: errore, mancamento, C. xx, 21, 
57- 

fallare: mancare, venire meno, C. vu, 
29; XXI, 57, etc. 

fallimento: fallo, C. xv, 34; xx, 62, etc. 

fallire: errare, mancare, C. Vil, 32; VIII, 
37: 

fano: fanno, C. xvt, 30. 

faragio: fard, C. xm, 24. 

fatte: fatti, C. v1, 48. 

favellare: favillare (?), C. vm, 14. 

fazone: forma, fattezza, S. Iv, 4. 

fellonamente: ferocemente, C. VI, 34. 

felone: cattivo, feroce, S. xx, 14. 

fenire: finire, S. xxvmt, 11. 

fere: ferisce, S. rx, 7. 

fereza: fierezza, C. V, 31. 

fermanza: fermezza, C. xx, 65. 

feruia: ferita, S. x, 10. 

feruto: ferito, S. v, 1; XIV, Io. 

fiata; tale ——: qualchevolta, S. v1, 2; 
XIn, 14. 

fidanza: fiducia, C. vi, 2. 

jinimento: fine, S. xx, 8; XXVIII, 4. 

finise: fenice, S. xxt, 11, 14. 

fior: punto, affatto, S. xx, 11. 

fiumi: fiume, C. xvi, 54. 

fole: folle, S. 1, 3. 

follagio: follia, C. xxm, 47. 

fonda: si effondono, D. 208; si fonde, D. 
209. 

fora: sarebbe, C. 1, 80; Vv, 9. 

fore: fuori, C. m1, 12; X, 20; xt, 67, etc. 

forte: penoso, C. 1, 13. 

fortuna: vento fortissimo, temporale, C. 
I, 52. 

frore: fiore, S. XVM, 5; XXII, 12, etc. 

fuge: fugge, S. xxrx, 1. 

fusse: fosse, C,1, 78,1.; fossi io, C. vim, rr. 


GLOSSARY 


G 

gabando: beffando, S. xxm, 13. 

gaudente: gioioso, C. XVI, 24; XXI, 40, 
etc. 

gaudire: godere, gioia, S. xv, 7. 

gelore: gelo, C. vu, 40. 

gente: gentile, C. v, 29; Xt, 5, etc. 

getto: il gettare, C. 1, 53. 

ghiaccia: ghiaccio, S. x1v, 3. 

ghiora: gloria, S. xv, 14. 

giaquinto: giacinto, S. xxl, 3. 

gio’: gioia, C. xl, 46; XIV, 9, 17, 27; 
XVI, 14, var. 

gio’: gioiello, C. xv, 29; D. 57. 

gioi’: gioia, C. v. 29, var.; IX, 2; XI, 47; 
XII, 19, 39, I.; XVII, 14. 

gioi’: gioielli, D, 57, var. 

gioia: gioia, C. m1, 34; Iv, 18, etc.; see 
also gio’ and gioi’. 

gioia: gioiello, C. m1, 21, 37, 48; XV, 20, 
var.; D. 57, var. 

gire: andare, C. x1, 46; XIV, 19. 

gitare: gettare, C. 1, 57; XIX, 2. 

gittare: gettare, C.1, 52; 1, 41. 

giucato: giocato, C. xvml, 37. 

giunge: unisce, S. x, 12; arriva, S. xX, 9. 

giunta: giuntura, S. Ix, 4. 

giunta: giunge, S. rx, 6. 

gra’: grande, C. xm, 12; XIX, 23. 

grana: produce il granello, granisce, C. 
I, 32. 

gravara: graverebbe, C. 1, 60. 

gronda: grondano, D. 207. 

groria: gloria, S. xIx, 7. 

gruera: guerriera, S. xvi, 3. 

guare, d non: non é molto, C. xxu, 14. 

guarentire: garantire, C. xvi, 42. 

guisa, di gran: assaissimo, C. XxI, 26. 


I 
7’: in, C. m1, 36, 38; xvm, 8, etc. 
@’: io, C. 1, 34, 68; 1, 10, 50, etc. 
i-llei: in lei, C. xx1, 22. 
tm: in, C. XVI, 23, 27, etc. 
imfiamao: imfiammdé, C, xvu, 8, r. 





143 


imprimamente: da prima, S. V1, 3. 

inante, inanti: innanzi, C. m1, 27; S. VI; 7. 

inavanza: sovrasta, é superiore, C. xv, 
41. 

tncalcia: incalza, C. rx, 35. 

incendore: incendio, ira, S. xrv, 8. 

inconinzaglia: principio, C. xvm1, 34, Fr. 

inconinzare: cominciare, C. Iv, 14. 

increscenza: noia, fastidio, C. xvm, 4. 

incrina: inclina, S. xvm1, 6. 

incrisca: incresca, C. XIII, 44. 

ingegno: inganno, sottigliezza, S. xxx, 
4, 11. 

innamorio: m’innamoro, C. xt, 50, F. 

inoia: noia, fastidio, C. xx1, 32. 

inoioso: noioso, C. IV, 33. 

inoranza: onoranza, C. v, 8. 

inorare: onorare, C. XVII, 29; XVII, 37, 
etc. 

insigna: insegna, C. m1, 11. 

insonna: sonnecchia, dorme, D. 87. 

intando: intanto, allora, C. x1, 43, Fr. 

intendanza: Vintendere, intelligenza, C. 
XII, 13; amore, C. Iv, 32; XIV, 39; 
XV, 32. 

intendate: intendete (or, intendiate), 
date ascolto, C. vI, 12. 

inteniate: intendiate, S. Iv, 2. 

intenza: constrasto, or intendimento (?), 
C. xvI, 50. 

intenza: contrasta, fa sapere (?), C. x1, 8. 

intrare: entrare, D. 180. 

inver: verso, C.1, 3; VII, 48; XV, 2, etc. 

invia: fa progredire, D. 50. 

inviluto: avvilito, C. m1, 31; S. XXXVI, 
12. 

Iobo: Giobbe, S. xrx, 4. 

TIsalda, Isaotta, Isolda: Isotta, C. rx, 46; 
D. 45; S. Xxxt, 13. 

isbaldimento: allegria, S. xxm, 
XXVIII, 2. 

iscrida: sgrida, D. 202, variant. 

isguardare: guardare, C.11, 39; S. XXIV, 3. 

isguardare: guardare, sguardo, S. Xxx, 2. 

isprendore: splendore, S, Xxt, 4. 


14; 


144 


L 

lacreme, lacrime: lagrime, S. xvm, 8, 9. 

lanciata: ferita di lancia, C. vn, 16. 

lanza: ferisce (di lancia), C. vim, 55; Xv, 
44. 

lanzare: lanciare, C. Iv, 37. 

laonque: dovunque, S. XxvII, 4. 

lassare: lasciare, C. vm, 29; S. xxx, 6; 
liberare, C. 1, 71. 

launde: laonde, C. xm, 50. 

leanza: lealta, C. x1, 16; xm, 18, etc. 

leiale: leale, S. XXvVI, 1. 

lenza: benda, fascia, S. xxxXI, 5. 

levao: levd, C. XVO, 9, Ff. 

li: lei, S. xvt, 8; le, a lei, S. xvi, 12; gli 
C, 1, 43; VU, 37, etc. 

liale: leale, lealta, S. xxv, 3. 

linga: lingua, C. 0, 53, Fr. 

loco: li, la, S. xxxtv, 8. 

long’: lungo, C. 1, 29. 

lostrore: luce, S. XXVII, 10. 

lumera: lume, S. xxvu, 7. 


M 

’m: in, C. XVI, 5, 14, etc. 

’maginando: immaginando, D. 16. 

maio: maggio, C. XIV, 24, Fr. 

maitina, maitino: mattina, C. 0, 57; Vu, 
7. 

malvascia: malvagita, S. xx, 3. 

mande: mandi, C. Ix, 11. 

manti: molti, C. XI, 11; XIV, 41, etc. 

marimento: smarrimento, C. XVI, 3. 

Melan: Milano, C. v, 38. 

membrare: rimembrare, C. Ix, 5; XV, 20. 

menbranza; rimembranza, C. xv, 17; 
XxX, 7 

menzonieri: menzogneri, S. vu, 9. 

meo: mio, C. m1, 8; S.1, 1; XXvIl, 2, etc. 

merce, merzé, merzede, merzidi: ricom- 
pensa, pieta, grazia, cortesia, chieder 
aiuto, C. m1, 2, 17, 20, 28, 35, 41; VI, 
3; 4, etc. 

meritare: 
XXI, 30. 


ricompensare, C. XVIII, 32; 





GLOSSARY 


meve: me, C. XII, 52; XIX, 38, etc. 

*mforzo: rafforzo, S. XXVIII, 11. 

mi: me, D. 67. 

mina: mena, porta, C. x1, 18, r.; D. 
III, ©. 

misleanza: slealta, C. xv, 35. 

miso, misso: messo, C. 1, 6; D. 71. 

mispregianza: disonore, C. Iv, 17. 

morbido: delicato, S. xv, 12. 

mortando: smorzando, spegnendo, C. 
XIV, 45. 

mostramenio: mostra, C. XX, 32. 

motto: parola, C. 1, 76; XI, 31. 


N 

*nalzato: innalzato, C. xvmt, 6. 

*nanti: innanzi, S. XxIXx, 9. 

*ncarnata: figura corporea, C. Iv, 27. 

*ncarnato: rivestito di carne, C. 1, 75; 
IV, 27. 

*nconinciamento: incominciamento, C. 
XIV, 23. 

*nerescenza: fastidio, noia, C. Vv, 25. 

nd’, nde, inde: ne, C. XI, 293 XX, 543 
S. Xv, 14, etc. 

neente, neiente: niente, C. Xv, 7, etc.; 
qualcosa, C. XI, 4. 

nesun: alcun, S. XXIX, 3. 

no: non, C.1, 76; 1, 7, etc. 

nodrisce: nutre, C. Xx, 28. 

no-lle: non le, C. xvi, 25. 

nom: non, C.1, 41; VIL, 17; XIV, 28, etc. 

nomo: nome, C. Im, 6, ¥.; IX, 51, fr. 

*norato: onorato, C. XxI, 16. 

norita: nutrita, D. 105. 

novo: mi rinnovo, S. XXVIII, 13. 

*nprontamente: indiscretamente, S. vu, 
Io. 

*ntendanza: amore, C. XIX, 21; S. XXxXI, 
Io. 

*ntendimento: amore, C. XIX, 7. 

*ntenza: intenzione, scopo, C. Vv, 36; con- 
trasto, C. vim, 52. 

*ntenza: innamora, C. XVII, 41. 

nut: noi, C. XI, 16, f., etc. 


GLOSSARY 


nutricamento: nutrimento, S. m1, 4. 
*nviluto: avvilito, C. m1, 30. 
’nvoglia: involge, C. 1, 31. 


oO 
0’: ove, S. Xv, 4. 
obria: oblia, C. XVI, 31. 
odere: udire, S. 1, 13. 
oimai: omai, C. vm, 50. 
oltremare: oriente, Terrasanta, C. rv, 36. 
om, omo: uomo, C. I, 37, 42, etc.; as 
pronoun, C. V, 22. 
on: uomo, S. XXX, 2. 
onn’, onni: ogni, C. II, 2, 5. 
openione: opinione, S. xx, 12. 
ore: ora, C. XXI, 51, r. 
oruto: avuto in orrore, C. XII, 42. 


P 

parimento: parere, C. VU, 3. 

parlamento: discorso, voce, parole, C. x, 
34; XII, 11, etc. 

parpaglion: farfalla, S. xx1, 1. 

parria: parrebbe, C. xm, 53. 

parte, im: spezzato, C. xIv, 18. 

partire: dividere, separare, C. XV, 37. 

partisse: partissi, D. 39. 

partitoro: partitore, C. v1, 11. 

partivi: partii, C. xIv, 2. 

partuta: partita, porzione, C. xx, 71. 

partuto: diviso, S. Iv, 12; IX, 3. 

paruta: apparénza, aspetto, C. xx, 70. 

parvente, al mio: a mio vedere, C. XxI, 
38. 

parvenza, in: in presenza mia, C. XIV, 11. 

passo: passaggio, C. Iv, 35. 

passo: appassito, S. rx, 1. 

peio: peggio, C. vi, 46, r. 

pemsamento: pensamento, affanno, C. 
XVI, 5. 

penare: affannare, soffrire, C. xvii, 5, 6. 

penna: penna, vela (?), S. xu, 7; cf. 
Notes. 

penzare: pensare, C. I, 20; V, 26, etc. 

pera: perisca, C. xm, 26. 





145 


percepenza: percezione, C. Vv, 33. 

perdéo: perdette, S. xrx, 5. 

perdimento: perdita, C. xvm, 45. 

perdonanza: perdono, C. x1, 32. 

perduta: perdita, C. vt, 4. 

pere: perisce, C. XVI, 29. 

pero: perisco, C. XVI, 37. 

perzé: percid, C. m1, 11, 15, etc. 

pesanza: peso, affanno, C. x, 13; xv, 26. 

piacimento: piacere, C. xm, 9; Xv, 16; 
=x, 25. 

piagente: piacente, C. XIII, 49; XV, 21. 

piagenza: piacere, S. xu, 4. 

pietansa, pietanza: pieta, C. Iv, 5; Vv, 31, 
etc. 

pini: pid. C. x1, 13. 

placere, plasere: piacere, C. xrx, 31; D. 
135, etc. 

placimento: piacere, S. 1, 2. 

plagente: piacente, C. Ix, 33. 

plagenza: piacere, bellezza, C. xvu, 12. 

plogia: pioggia, S. xIv, 1. 

plui: pid, C. v1, 27, r.; D. 171, r. 

po: pud, C. H, 33; XI, 9, etc. 

podere, podire: potere, forza, C. xvm, 
28; XXII, 24, etc. 

poi: poiché, C. XII, 33; XV, 1, 10, 26; 
XVIII, I, 40; XX, 73, etc. 

poi che: dopo che, C. v, 26; quando, S. 
xXxxu, 7; benché, C. xiv, 31. 

poragio: potrd, D. 152. 

porase: si potra, S. xx, 8. 

porea: potrei, C. Ix, 4. 

poria: potrei, potrebbe, C. x1, 11, 23; 
XV, 4, etc. 

poriasi: si potrebbe, C. rx, 40. 

porzeria: porgerebbe, S. xv, 7. 

posare: riposare, aver pace, C. 1, 64; 
XVI, 15. 

posate: smettete, S. v, 14. 

pote: pud, S. x1, 8; XXVU, I, 3. 

poteria: potrei, C. IX, 37. 

polesse: potessi, C. rx, 17; S. XV, 2. 

preio: pregio, C. VI, 45, T. 

presente: allora, C. VI, 25. 


146 


presgio, presio: pregio, C. 111, 7; XXI, 24, 
25, etc. 

presiosa: preziosa, S. XXIV, 2. 

prima; im— che: tosto che, S. Ix, 12. 

priso: preso, C. 1, 2; XVI, 17, etc. 

privanza, im: privatamente, in intimita, 
C. XIV, 40. 

prodito, in: in prurito, C. 1, 37. 

propio: proprio, C. 1, 36, 46, etc. 

prossimano: prossimo, vicino, C. x, 9; 
Ds 22%. 

provedenza: cura, sollecitudine, C. xx1, 


27. 


Q 
qua’: quale, C. v1, 1. 
*quistato: acquistato, C. IV, 11; XIII, 14. 


R 


ragenza, si: si raffazzona, rabbellisce, 
S. vu, 6. 

raguardo: riguardo, C. x, 31. 

ramortasse: smorzasse, C. XIV, 45. 

rancura: affanna, S. XXI, 2. 

rasion, razone: ragione, giustizia, C. x1, 
313 SuIv, 2. 

redire: ritornare, S. XXVIII, 14. 

reo: gravoso, cattivo, C. vm, 59; XII, 
253 Ss Vi, 2. 

resembrare: aver somiglianza, C. m, 13. 

richiosa: rinchiusa, S. v, 6. 

rico: ricco, ricchezza, C. xxI, 33. 

rideragio: riderd, D. 147. 

riguardamento: riguardo, S. xxviu, 6. 

riguardi: sguardi, C. xv, 45. 

rinegare: rinnegare, S. XVI, 2. 

ripresa: riprensione, S. VI, 12. 

rigura: ricchezza, S. XXV, 2. 

risprendente: risplendente, S. xxm, 6. 

ritenenza: ritegno, D. 118. 

romanire: rimanere, C. XI, 10, Fr. 

romeo: pellegrino, D. 35. 

ronpe: rompe, S. XVUI, 7. 

rosata: rugiada, D. 3. 





GLOSSARY 


s 

saccia, saccio, etc. (sapere): C. 1, 31; 
I, 52, ete, 

sagnare: far sanguinare, C. vi, 26. 

salda: guarisce, D. 44. 

salvagio: selvaggio, C. vil, 36; XII, 23. 

sanza: senza, C. IV, 21; V, 33, etc. 

sape: sa, C. m1, 6, 8; xIm, 13. 

Saragosa: Siracusa, C. rv, 36. 

saramenio: sacramento, giuramento, S. 
vu, 8. 

savere: sapere, C. I, 14; Il, 42, etc.; 
scienza, arte, XV, 31, etc. 

savori: sapore, C. I, 19. 

scaltrimento, a: con scaltrezza, astuzia, 
S. Vu, 4. 

scarsitade: scarsezza, economia, C. XII, 
38. 

scendere: inchinare, C. XVI, 39. 

scetto: soltanto, D. 88. 

Scigna: scimmia, C. Im, 13, fr. 

’scita: uscita, C. m1, 19. 

scolosmini (?): forse pietra preziosa, C. 
mm, 31; cf. Notes. 

scorre: impazzare, D. 124. 

scruopi: scuopri, S. Xx, 12. 

sdura: perdura, intenerisce (?), D. or. 

sé: si, C. 1, 44. 

sed: se, C. XIX, 40. 

segio: siedo, sto, S. Iv, 6. 

semblanza: sembianza, C. Vv, 15. 

sembrate: assembrate, riunite, C. v1, 22. 

semo: siamo, C. XI, 16. 

senbrante: sembianza, C. Ix, 8. 

senbrara: sembrerebbe, S. xxu, 6. 

senbraria: sembrerebbe, S. xxi, 3. 

sentenzatore: giudice, S. 1, 14. 

sentere: sentire, S. 1, 5. 

sentore: sentimento, soddisfazione, C. 1, 
40. 

serene: sirene, C. XVI, 30. 

seré: sard, C. xi, 58. 

serviragio: servird, C. XIX, 19. 

servivi: servii, S. IX, 13. 

sete: siete, C. IX, 9, 48; XII, 4, etc. 


GLOSSARY 


sfesi: (pass. rimoto di sfendere = fen- 
dere), C. vimt, 17. 

sguardare: guardare, C. xml, 47. 

Sicuranza: sicurezza, C. V, 7; XI, 54, etc. 

singa: segno, C. 0, 52, r. 

site: siete, D. 218. 

slocato: slogato, traslocato, C. xx1, 12. 

smisura: oltrepassa la misura, C. v, 24. 

so’: sono, C. 1, 67; I, 31; Vm, 16, 
etc. 

so: suo, S. mi, 6; xXx, 6, etc. 

sofondare: affondare, C. 1, 58, 59. 

sollaccia: conforta, C. XI, 40. 

sollaccio: sollazzo, carezze, C. xIv, 36; 
D. 109. 

som: mi sono, S. Iv, to. 

somo: siamo, D. 167. 

sonare: raccontare, C. XIV, 43. 

Sone: sono, S. XXVI, 2, Fr. 

sorchietanza: arroganza, eccesso, C. V, 
23. 

sortire: accadere, C. XI, 11. 

sospecione: sospetto, S. XxXXI, 9. 

sotragesse: sottraesse, C. XVII, 14. 

sovenenza: ricordanza, D. 119. 

sovenmi: mi sovviene, C. 0, 3. 

sovra: pit che, C. xvi, 22. 

sovro: sopra, C. rx, 48; XXI, 42. 

sparte: in disparte, C. xx, 23. 

spata: spada, C. Iv, 43. 

spegna: spegne, C. XX, 43. 

Spene: speranza, C. vim, 39; D. 8; S. 
XXV, II. 

spera: faccia, C. XVI, 40; XX, 31; raggio, 
i Kp Te 

spera: sispera, S. x, 5; specchia, S. x, 3; 
aspetta, S. x, 7. 

sperasgione: immagine, S. rv, 8. 

spesora: spesso, S. XIX, 2. 

Spica: spiga, C. I, 32. 

spogna: spugna, S. vit, 14. 

spotenza: strapotenza, C. xxI, 25. 

spregianza: disonore, C. Iv, 16. 

sprendore: splendore, S. XXIII, 10; XXIV, 5. 

stare: essere diviso, C. VIII, 51, 50. 





147 


sta’: estate, C. vm, 40. 

statesse: stesse, C. VI, 29. 

stene: (= distene), opprime, C. x1, 26. 

steria: starebbe, C. xvu, 25. 

stinguere: spegnere, C. 1, 24; S. xiv, 
13. 

stolle: distoglie, C. xvm, 31. 

stretto: ristretto, C. m1, 35. 

sturba: cancella, C. 1, 42. 

sturduto: sturdito, C. vm, 25. 

stuté: spense, S. XIV, 11. 

suoe: sue, C. X, 32; XXII, 39. 


r 

ta’: tale, S. xxvm1, 9. 

talento: volonta, intenzione, C. xv, 7; 
XV, 35, etc.; per——: volentieri, C. 
XIX, 30. 

talento: ho talento, C. xvu, 44. 

tardanza: ritardo, indugio, C. v, 40. 

temenza: timore, C. V, 10; XI, 19, etc. 

tener mente: considerare, guardare, C. 11, 
4; Il, 14, etc. 

teno: tengo, C. XIV, 40. 

lenore: potere, C. XVII, 4. 

tenuta: possesso, C. Xx, 66. 

teria: terrei, S. xv, 13. 

tivi: te, C. XIV, 15, Fr. 

tolle: toglie, C. xIv, 41. 

topazo: topazio, S. XxIM, 3. 

tormento: mi tormento, C. xv, 8. 

tornare: diventare, C. x1, 35; S. XXVIII, 
12. 

trage: va, S. XXVIM, 2. 

tragerete: trarrete, C. XI, 60. 

trangosciare: riempirsi d’angoscia, C. 
vill, 56. 

travallia: incalza, C. Vm, 20, ©. 

treze: trecce, C. X, 35- 

trovar: dettar versi, poetare, S. Vv, 4; 
Vl, 13. 

turba: si turba, S. xxv, 5. 

tutesor cad: ogni volta che, C. v1, 15. 

tutor: tuttora, C. Vv, 7; XV, 12, etc. 

tuttore, a: sempre, C. VIII, 46. 


148 


U 
u: dove, C. xm, 10. 
ubidente: obbediente, C. xv, 15. 
ubidenza: obbedienza, C. v, 18. 
ubidire: obbedire, C. xv, 40. 
ubria: oblia, C. v, 8. 
ubrianza: oblio, dimenticanza, C. xv, 20. 
ubriare: obliare, C. xx, 35. 
umilianza: umiliazione, C. Vv, 24. 
umque: mai, S. Ix, 10. 
unde: onde, C. Ix, 13; XV, 8. 
unqua, unque: mai, C. m1, 48. 
usagio: uso, C. VI, 39. 
usato: usanza, C. VI, 33. 


vV 

vaglia: giovi, C. XVI, 47. 

vaglienza: valentia, S. v1, 12, 30. 

valenza: valore, virti, C. v, 4; VI, 30 
etc. 

valimento: aiuto, C. xv, 26; valore, C. 
XIX, 17. 

valire: valere, essere fedele, C. xv, 4, 28, 
etc. 

valire: valore, C. xvml, 26. 

vallesse: varrebbe, C. v1, 30. 

varo: diverso, incostante, C. x11, 60, r. 

vassallagio: eroismo, S. XXXV, 7. 

veden: vedono, S. Im, 10. 

vedessen: vedessero, S. u, 8. 

veduta, de la: alla vista, D. 137. 

vegendo: vedendo, C. x, 12; S. xv, 14, 
etc. 

vegia: veda, C. m1, 27. 

vegiamento: veglia, C. vim, 32. 

vegiate: vediate, C. xm, 14. 





GLOSSARY 


vegio, veio, veo: vedo, C. VIII, 10; X, 13, 
etc. See vio. 

vei: vedi, C. vm, 14. 

ven: viene, C. xxI, 3; S. m1, 1, etc. 

ver: verso, C. vit, 48; XX, 12, 40. 

veritate: verita, C. xm, 24; S. XxvI, 12. 

vernul: veruna, S. XXII, 2. 

vertudie, vertute: virtu, C. mm, 27; S. um, 
9, etc. 

vertudiosa: virtuosa, S. XXIII, 4; XXIV, 4. 

vetoria: vittoria, S. xrx, 1. 

via: vie, molto, C. Iv, 35. 

viglio: veglio, D. 85. 

vio: vedo, C. I, 22; MI, 44, etc. 

visagio: viso, D. 149. 

visare: osservare, vedere, mirare, S. 
XVH, I, 2, 5, 7, 10, II. 

viso: immaginazione, visione, S. XVII, 3; 
vista, S. xvu, 3, 4. See Notes. 

vivente, al mio: finch’io viva, C. vit, 30, 
31; XV, 36. 

vo: vi, C. IX, 8, 11, 16, etc. 

vo’: voglio, C. VII, 49; XXI, 49. 

voglienza: voglia, S. xxxXI, 3. 

vollesse: volessi, S. XV, 10. 

volte: avvolte, ricciute, D. ror. 

vone: vado, S. XXVHy, 4, fr. 

voria: vorrei, vorrebbe, C. 1, 73; UI, 10, 
etc. 

vui: voi, C. VI, 28, ¥.; XI, 14, etc. 

’vumgue: ovunque, S. IX, 7. 


Z 
zafino: zaffiro, S. Xxmt, 1. 
zitello: fanciullo, S. xx1, 7. 
26: cid, C.1, 21; H, §3, etc. 


ALPHABETICAL INDEX OF THE FIRST LINES 


C=canzone; D=discordo; S=sonnet 


: PAGE 
Allaira chiara 6 vista plogia dare[S]............... 72 
NN ESCO 0 ST SB EI te er ee rn 26 
Amor, da cui move tutorae vene[C].............. . 49 
Amor é un disio che ven dacore[S] ............... 61 
Amor m’auzide. Perché? Perch’ioamo[S]........... 92 
pS Se RS | 8 a 9 
Amore, gli occhi dicolei mifanno[S]............... 96 
Amore paura m’incalca [C, fragment]. .............. 54 
Angelica figura e conprobata[S] ................. 83 
Ben m’é venuto prima al cor doglienza[C] ............ 13 
Certo me par che far dea bon signore [S] ............. 78 
Chi non avesse mai veduto foco[S] ............... 80 
Come l’arcento vivo fuge ilfoco[S] ............... 8 
Con vostro onore facciovi uno’nvito [S., in tenzone; by L’Abate di 
TERRES a clogs ata a athe MMR et BS 4) goa Rel ast av pale 66 
TUNE ME EOE OS Soe gaa wl Ears SR od Vareapan eA weal at 52 
Cotale gioco mai nom fue veduto [S.,intenzone] ......... 65 
Da che ti piace ch’io degia contare[S] .............. 94 
EEE i gd aulot oat ie Qa BRE RN By Lee, te 55 
Diamante, né smiraldo, né zafino[S] . .............. 81 
SES ON |S ae Rr PT er ee 17 
Donna, eo languisco, e no so qua’ speranza[C] .......... I5 
Donna, vostri sembianti mi mostraro[S] ............. 70 
Due cavalier valenti d’un paragio[S]............... 93 
erate samo isvariatamente [S} 5. eee ee ee eee 63 
Bin amor Gi on cor ven di valenza [S} 2 5 6 6 kw ek ew 89 
SS | 9) ee ee Sees a ae cao 40 
Guardando ’] basalisco velenoso[S]. .........-+.+.+-++--. 88 
ene a | Se re eras a rae aay eee 30 
Seerereeoma BEBO TOP. os sa ee eae eR ew 8 ie ve 44 
Io m’agio posto in corea Dioservire[S] ...........+.-. 73 
SON |e BPE RR roe eie (tare ai Seay nie ee II 
Lo badalischio a lo spechio lucente [S} . .....-......4.. 86 
Lo giglio, quand’ é colto, tost’é passo[S]. ......-.+.+-- 67 
Lo viso e son divisio da lo viso[S] . ..... 2... 2 eee eee 75 
Lo viso mi fa andare alegramente [S]. ... 2... eee eee 74 


149 


-< 


I50 ALPHABETICAL INDEX OF THE FIRST LINES 


Madonna 4 ’n sé vertute con valore [S]. ............. 82 
Madonna, dir vi vogtio [CC]. ii icc oe ee eee 3 
Madonna. mia, voi mando [C] <5. aoe Se eae eee 20 
Maravigiionamente (CF 553.565 Nene aS ee Soe a 6 
Membrando cid ch’ Amore (C] sia. 5.3... +s Se a Se 30° 
Membrando l’amoroso dipartire[C] ............... 32 
Molti amadori la:lor:malatia [S]o/. soo i aoe eee eee 69 
Nom so se in gioia mi sia [C, fragment]. ............. 54 
Ogn’omo, c’ama, dé amar lo suo onore [S]. ............ 71 
Oi! Deo d’amore, a te faccio preghera [S., in tenzone, by L’Abate di 
THYME 5 sk ie Ca ae ML Sa Oe can ers tke ne 62 
Or come pote si gran donna entrare[S]...........4... 85 
Pegli occhi miei una donna ed Amore [S] ............. 95 
Peré ch’ Amore no si po vedere [S., in tenzone; by Pier della Vigna]. 60 
Per sofrenza si vince gran vetoria[S]. .............. 77 
Poi non mi val merzé né ben servire[C]. ............. 34 
Poi tanta caonoscenza [C]; °°. 23 eRe ee eee 42 
Qual omo altrui riprende spessamente [S., in tenzone; by L’Abate di 
TIVO asd cg ai cn)! a eS | tat era eRe 64 
Quand’ om 4 un bon amico leiale [S] ............... 84 
Re glorioso, pien d’ogni pietate [S]}. ............... 97 
Segnori, udite strano malificio [S]} ...............-. gI 
Si alta amanza 4 presalo me’ core[S] .............. 76 


Sicome il sol che manda la sua spera [S] 
Si como ’] parpaglion, ch’a tal natura [S] 
S’io doglio no é meéraviglia [C] sho.) a a ee 2 

Solicitando un poco meo savere [S., in tenzone; by Jacopo Mostacci]. 59 
Tanto sono temente e vergognoso [S] 


6: te te, eit Se ee eee ee go 
Troppo son dimorato [C] oe. ce aie eet eae eed 18 
Uno disio d’amore sovente [C] 64.) oes) ee a ee 24 


Vostra orgngliosa cera IC}. 42a a ee Pie ate 





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